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OSMANIA UNIVERSITY LIBRARY
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Title
This book should be returned on or before the date last marked below.
THE INDIAN
BUDDHIST ICONOGRAPHY
Mainly Based on
THE SADHANAMALA
and Cognate Tantric Texts of Rituals
BENOYTOSH BHATTACHARYYA, M.A.,Ph.o.
Formerly Director of Oriental Institute and General Editor,
Qaekwad's Oriental Series, Baroda
FIRMA K. L. MUKHOPADHYAY
CALCUTTA 1958
Published by K. L. MUKHOPADHYAY, 6/1A, Banchharam Akrur Lane,
Calcutta- 12, India.
SECOND EDITION
Revised and Enlarged with 357 Illustrations
JUNE 1958
Dr. B. Bhattacharyya
Naihati, 24-Parganas
Printed by A. C. Ghosh, GHOSH PRINTING HOUSE PRIVATE LIMITED,
17 A, British Indian Street, Calcutta- 1
Bound by NEW INDIA BINDERS, 5B, Patwar Bagan Lane,
Cakutta-9
S-ntcrwed to me <3olemQry of
^fattier
PREFACE TO THE SECOND EDITION
The Mighty Gods and Goddesses of the Buddhist Pantheon wish
to reveal themselves before the world once again through the pages of
the Buddhist Iconography. Their Will is supreme. After overconv
ing difficulties, delays and obstacles, the Buddhist Iconography at
last is presented to the scholarly world in a second edition after a
lapse of full thirty-four years. It is pleasant to live these long
years to see my favourite book pass through a second edition. This is
an occasion when I should remember with gratitude two of my illus*
trious preceptors, Professor A. Foucher and my father Mm. Haraprasad
Shastri both of whom are no longer in the land of the living. I believe
in my heart of hearts that their invisible care and blessings are in a
large measure responsible for this happy ending. It gives me immense
.satisfaction.
When the first edition of this book was published in 1924, my
studies were much hampered owing to paucity of material. But since
then such a great volume of information has been published that it
appears almost overwhelming. I never could think that it would be
possible for me to handle such vast material in a manner befitting this
serious subject. Thus the second edition goes to the world with all
its imperfections of which I am conscious more than my critics.
After 1924, the texts of the Sadhanamala and the Nispannayogavali
were published. Both these texts proved to be veritable mines of
information on Buddhist gods and goddesses. Between the two
publications, the edition of the Advayavajrasangraha and the
Quhyasamaja followed in rapid succession, and the information
furnished in these two excellent texts not only added to my difficulties,
but also changed materially the whole outlook underlying the classi-
fication and arrangement of Buddhist deities. These Sanskrit texts
were published in the Qaekwad's Oriental Series when I was the General
Editor under my erstwhile Master, the late His Highness Maharaja
Sayaji Rap III, Gaekwad of Baroda and his illustrious Dewan Sir V. T*
Krishnania Chariar, now Deputy Chairman of the Planning Commission
for the Republic of India.
^ > Later, publications such as the Elements of Buddhist Iconography by
Coomaraswamy, die second edition of the Qods of: Northern Buddhism
VIII
by Alice Getty, the Iconography of Tibetan Lamaism by Mrs. A. K.
Gordon and the Iconography of Buddhist and Brahmanical Sculptures in
the Dacca Museum by my friend and colleague Dr. N. K* Bhattasali,
Curator of the Dacca Museum, made my work of revision still more
difficult and embarrassing !
Professor Walter Eugene Clarke of the Harvard University by
publishing the two sumptuous volumes of the Two Lamaistic Pantheons
served to put the proverbial last straw on the camel's back. This book
published for the first time photographs of an unbelievable number
of Buddhist statuettes in the Royal Temple at Peiping in Manchuria.
If the statues had been entirely Chinese in character it would not have
affected me in the least, because I am connected palpably with the
Indian branch of Buddhist iconography. But an examination of the
published photographs showed that the Peiping collection was exclu-
sively inspired by Indian tradition, depended entirely on Indian texts,
and faithfully followed the directions given in Sanskrit texts such as
the Sadhanamala and the Nispannayogavali. The remarkable Indian
character of the Chinese statuettes led me to include a large number of
them in this book, and their study made the task of revision not only
difficult but also delicate by forcing me to include Chinese specimens
in a book which is chiefly concerned with the Indian branch of
Buddhist iconography. I must thank the learned American author
Professor Clarke for imposing on me this additional labour and
responsibility !
The study of the Buddhist branch of Indian iconography is one of
the most interesting and fascinating of all studies. In Buddhist icono-
graphy the whole world is interested because Buddhism is not confined
within the limits of India like Hinduism or Jainism, but travelled far
and wide beyond the Himalayas to Tibet, China, Japan, Korea and
Mongolia on one side, and to Indo-China, Siam, Indonesia, Burma
and Ceylon on the other. In the time of the great Achaemenid
Emperor Darius, Lord Buddha laid the foundation of a religion which
was destined to be the religion of one third of the population of the
globe. The fountain head of inspiration relating to Buddhist icono-
graphy was furnished by the ancient Sanskrit manuscripts of India, and
the ideas and directions contained therein travelled to different coun-
tries, notably Tibet and China, where they were coloured by the art and
culture characteristics of the respective peoples. We have now reached
a stage where it is no longer possible to isolate Buddhist icono-
graphy of India from its developments in Tibet and China which wer^
profoundly influenced by the Buddhist Tantras of India, And thp
chief need of the subject is the publication of a great volume of
IX
original and unpublished manuscript material that lies hidden in
the archives of MSS Libraries throughout the world. When this huge
material is published then alone the study of Buddhist iconography
can be said to be complete.
The second edition has been thoroughly revised and greatly enlarged.
New chapters have been incorporated, old chapters have been redistri-
buted. Many pictures have been deleted, and many new ones have
been included in order to make the study as up-to-date as possible.
In 1924, when the first edition 'was published, I could only see the
material side of the problem. But with the availability of fresh material,
the other side, namely the psychic side, also became apparent. Evidence
of this change will be found in the introduction which is almost wholly
re-written, as also in other chapters, notably on the Dhyani Buddhas.
I offer an explanation here lest my readers receive a shock while reading
this book in a second edition. I may further point out that repetitions
in a book of this kind can hardly be avoided, and deities have been
repeated at different places for different purposes and in different
contexts. My critics of the first edition will also notice how irregularit-
ies pointed out by them have been regularised in the second edition
In preparing this edition I have received help from a number of
persons. With their help I could complete the revision and place the
book in the hands of scholars in its present form. First of all, it is
my sacred duty to acknowledge the debt I owe' to the late lamented
Dr. N. P. Chakravarti, one-time Director-General of Archaeology in
India, for graciously permitting me to reproduce all the photographs
belonging to the Department as were included in the first edition.
These photographs either purchased direct or reproduced from Depart-
mental publications are shown in the list of Acknowledgements.
It is hardly necessary for me to add that iconographic studies in India
are not possible without the generous help of the Archaeological
Department — help that is always given cheerfully as also gracefully.
Shrimati Hansa Ben Mehta, the talented Vice-Chancellor of the
Maharaja Sayajirao University of Baroda, has laid me under a deep
debt of obligation by ordering a loan for the purpose of reproduction,
of nine full-page blocks belonging to the University. As the Baroda
Museum now belongs to this University I have to thank the Vice-
Chancellor also for using the Baroda Museum specimens in this book.
It is difficult for me to adequately express my gratitude and thank-
fulness to our worthy colleague and associate, Prof. Walter Eugene
CSark, Wales Professor of Sanskrit in the Harvard University, who
gSve me permission to reproduce as many photographs as I liked from
\<
B
X
his monumental book : Two Lamaistic Pantheons. He made no
conditions, and I am simply overwhelmed with his kindness and
generosity.
To my friend and colleague, Dr. Hermann Goetz, formerly Curator
of the Baroda Museum, I feel very deeply indebted for allowing me to
take a number of photographs of interesting Buddhist images deposited
in the Baroda Museum years ago, for their eventual reproduction in
this volume from my own negatives. All the statuettes belonging to
the Baroda Museum and published in this book show the place of their
origin at the foot of each and every such illustration. I have to thank
the Baroda Musuem authorities and Dr. Goetz, the eminent art-critic,
very heartily for the favours enumerated above.
Pandit Siddhiharsha Vajracaryya of Nepal, my friend, philosopher
and guide, helped me at every step. He supplied copies of rare manus-
cripts and original Nepalese drawings of rare deities whenever there
was need for them. The drawings of the Twenty-Five Bodhisattvas
were all procured by him from Nepalese artists. Out of this number,
sixteen were copied from stone images in one of the famous Caityas
of Patan in Nepal. I am deeply indebted to him, as also to his son
Dharmaharsha and his grandson Purnaharsha Vajracaryya for their
intelligent, prompt, active and effective co-operation. I am also grate*
ful to my old artist of Nepal, Virman Chitrakar who supplied all the
Nepalese drawings illustrated in the first edition.
To Professor N. A. Gore I am indebted for three beautiful photo-
graphs : one of Ganapati (four-armed) and two of the rare deity
Simhasya from originals in the collection of his father-in-law, Dr. H. G.
Moghe, L. D. S., R. C. S. ( Eng* ) of Khar, Bombay. I express my
gratitude to both while reproducing all the three photographs in this
edition.
I take this opportunity of once again recording my heartfelt thanks
to Dr. W. Y. Evans- Wentz who allowed me years ago to reproduce
some of the miniatures in his possession. His name is mentioned at
appropriate places.
My grateful thanks are also due to Miss Raihana Tyabji, the mystic
daughter of the illustrious Indian leader, the late Shri Abbas Tyabji,
for going through the first edition for the purpose of a detailed revision
more than 15 years ago.
I am also indebted to the Manager, Bomby Branch of the Oxford
University Press for readily agreeing to have this second edition pub"
lished through Firma K. L. Mukhopadhyay, It was he who pursua*
ded me, much against my wishes, to revise the book for a second
edition as early as 1949. I have many reasons to be thankful to him.
It is my pleasant duty to express my indebtedness to the Curators,
Keepers and Superintendents of Museums, Picture Galleries, image
collections, and the rest, wherefrom images in metal, stone and paint'
ings have been selected for reproduction in this volume. I am parti*
culary grateful to the authorities of the Indian Museum, Calcuttta,
the Museum and Picture Gallery at Baroda, the Provincial Museum,
Lucknow, the Museums at Sarnath, Nalanda and Dacca, the Vangiya
Sahitya Parisat Museum, Calcutta, and the Palace Temple Collection
of images at Peiping in Manchuria. To all of them I tender my
grateful acknowledgments.
All those Universities of India which prescribed the first edition of
the Indian Buddhist Iconography as a textbook for the M.A. Examination
in Ancient Indian History and Culture, deserve my grateful thanks for
selecting the book. It is hoped that the authorities will extend the same
patronage to the second edition which is now published.
My grateful thanks are due to Messrs. Ghosh Printing House
Private Limited, Calcutta, especially Shri P. C. Basak, for exercising
great care on the accurate printing and excellent geMip of this volume.
In spite of our best efforts, however, a few errors have crept in, and for
these I crave the indulgence of my readers. These are mostly minor
errors and can be corrected with ease. Shri N. L. Dutt has also been
very helpful, and I acknowledge my indebtedness to him.
Lastly, I am duty bound to acknowledge my indebtedness to my
brother Shriyut Paritosh Bhattacharyya of Messrs. Sandal &. Co.,
Calcutta, for his sustained encouragement and for his many acts of
kindness.
My gratitude to Shri K. L. Mukhopadhyay of Firma K. L. Mukho*
padhyay knows no bounds, for all that he has done in bringing out
this edition in its present form. I thank him cordially and bless him
heartily.
This time I can only inscribe the book to the memory of my loving
father, the late Mahamahopadhyaya Haraprasad Shastri in whose invisi-
ble but tender care I have the honour to place this second edition of
Buddhist Iconography.
Shastri Villa
Naihati (West Bengal) B. BHATTACHARYYA
Rathayatra 1958
ABBREVIATIONS
A Appendix
ADV Advayavajrasangraha
ASI Archaeological Survey of India
Bendall Professor Cecil Beridall
Bhattasali (Dr.) N. K. Bhattasali
Clark Professor Walter Eugene Clark
Foucher Professor A. Foucher
Getty Miss Alice Getty
GNB Qods of Northern Buddhism
Gordon Mrs. A.K.Gordon
GOS Qaekwad's Oriental Series
IBBS Iconography of Buddhist and Brahmanical Sculptures i
the Dacca Museum
ITL Iconography of Tibetan Lamaism
JASB Journal of the Asiatic Society of Bengal
JBORS Journal of the Bihar and Orissa Research Society
JRAS Journal of the Royal Asiatic Society of Qreat Britain
Kern Professor H. Kern
NSP Nispannayogavall
Samasrami Pandit Satyavrata Samasrami
TLP Two Lamaistic Pantheons, 2 Vols.
Vogel Professor J. Ph. Vogel
ACKNOWLEDGMENTS
Grateful acknowledgments are made of the Courtesy and Copy*
right of the following institutions among others and of private collec-
tions, with their officers, curators, keepers, superintendents as well as
individual owners, while reproducing photographs of images, bronzes,
sculptures, bas-reliefs, statuettes, miniatures and blocks in their charge,
the copyright being reserved in all appropriate cases.
L The Archaeological Survey of India, New Delhi along with the
Archaeological Museums at Calcutta, Lucknow, Sarnath and Nalanda
functioning under the Department, in respect of Figures : 1, 2, 3, 4, 5,
17,26,27,45,46,77,81,83,84,85,94,95,96,98, 99, 101, 104, 105,
107, 116, 130, 138, 140, 142, 148, 152, 153, 154, 156, 166, 167, 169, 180,
189, 190 and 233.
II. The Museum and Picture Gallery under the M. S. University,
Baroda, in respect of Figures : 13, 16, 42, 74, 75, 87, 92, 97, 106, 127,
131, 160,163,168 and 188,
III. The Palace Temple at Peiping in Manchuria and the author of
the Two Lamaistic Pantheons, 2 Vols., Professor Walter Eugene Clark,
in respect of Figures : 30, 50, 71, 80, 111, 114, 115, 122, 123, 129, 133,
183, 193, 194, 195, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212,
213, 214, 217, 219, 220, 221, 222, 223, 224, 225, 231, 236, 237, 238,
239, 240, 241, 242, 243, 244, 245, 246, 247 and 248.
IV* Professor W. Y. Evans- Wentz (private collection), in respect of
Figures : 19, 22, 28, 33, 37, 150, 157, 165, 196, 197, 198, 199, 200 and
229.
V. Dacca Museum, Dacca (East Pakistan), in respect of Figures :
89, 125, 185 and 249.
VI. Vahglya Sahitya Parisat, Calcutta, in respect of Figures : 93 and
149.
VII. Dr. H. G. Moghe, L.D.S., R.C.S. (Eng.), of Khar, Bombay
(private collection), in respect of Figures : 215, 216 and 227.
VIIL Berlin Museum, Berlin, Germany, in respect of Figure « 90.
IX. Leiden Museum, Leiden, Holland, in respect of Figure : 141,
XIV
X. The Late Mr. W. B. Whitney of New York (private collection),
in respect of Figure : 161.
XL The Hindu Monastery at Bodh Gaya, in respect of Figure : 1 64-
XIL Dacca Sahitya Parisat, Dacca (East Pakistan), in respect of
Figure : 184.
XIIL Her Highness The Dowager Maharani Chimanabai Gaekwad
of Baroda (private collection), in respect of Figure : 228.
XIV, The Oriental Institute of the M.S. University, Baroda for the
loan of nine full page blocks, in respect of Figures : 89, 99. 103, 105,
156, 166, 169, 173 and 177.
XV. The Indian Museum, Calcutta, in respect of Figures : 1,3, 4,
5, 26, 45, 46, 81, 84, 85, 95, 104, 138, 140, 142, 148, 152, 153, 156, 167,
169, 180 and 190.
XVL The Nalanda Museum, Nalanda (Bihar), in respect of Figures ;
17, 27, 189 and 233.
XVII. The Provincial Museum, Lucknow, in respect of Figures : 99,
105, 154 and 166,
XVIIL The Saranath Museum, Saranath (Benares), in respect of
Figures : 77, 94, 98, 107, 116 and 130.
XIX. Pandits Siddhiharsha, Dharmaharsha and Purnaharsha Vajra-
caryya of Kathmandu (Nepal), in respect of Nepalese images repn>
duced in Figures : 9, 10, 11, 14, 15, 29, 43, 44, 82, 86, 91, 102, 108,
146, 151, 176, 187,201 and 226.
SYNOPSIS OF CONTENTS
Preface
Abbreviations
Acknowledgments
Synopsis of Contents
List of Illustrations
Select Bibliography
Errata
Introduction ... ... ••• 1
1. Materials for the study of Buddhist Iconography ;
2, Vajrayana Mysticism ; 3. The Psychic Process of
Sadhana ; 4. Godhead in Buddhism ; 5. The Pantheon.
CHAPTER!. Dhyani and Mortal Buddhas ... ... 42
Vajradhara ; 1. Amitabha ; Pandara ; Padmapani ;
2. Aksobhya ; Mamaki ; Vajrapani ; 3. Vairocana ;
Locana ; Samantabhadra ; 4* Amoghasiddhi ; Tara ;
Visvapani ; 5. Ratnasambhava ; Vajradhatvlsvarl ; Ratna-
pani ; 6. Vajrasattva ; Vajrasattvatmika ; Ghantapani ;
Mortal Buddhas ; Vajrasana ; Durgatiparisodhana ;
Mortal Buddhasaktis ; Mortal Bodhisattvas ; Maitreya.
CHAPTER II. The Bodhisattvas ... ... ... 82
1. Samantabhadra ; 2. Aksayamati ; 3. Ksiti-
garbha ; 4. Akasagarbha ; 5, Gaganaganja ; 6. Ratna- .
pani ; 7. Sagaramati ; 8. Vajragarbha ; 9V?walokitesvara ;/x
10. Mahasthamaprapta ; 11. Candraprabha ; 12. Jali-
niprabha ; 13. Amitaprabha ; 14. Pratibhanakuta ; 15.
Sarvasokatamonirghatamati ; 16. Sarvanivaranaviskambhi ;
17. Maitreya ; 18. Manjusri ) 19. Gandhahasti ; 20. Jna-
naketu ; 21. Bhadrapala ; 22, Sarvapayanjaha ; 23,
Amoghadarsi ; 24- Surangama ; 25. Vajrapaanii ( General
remarks.
CHAPTER IIL Bodhisattva Manjusri ... ... 100
1. Vajraraga ; 2. Dharmadhatu-Vagisvara ; 3. Manju*
ghosa ; 4. Siddhaikavlra ; 5. Vajrananga ; 6, Kama"
sangiti Manjusri ; 7. Vagisvara ; 8. Manjuvara ; 9. Man-
juvajra ; 10> Manjukumara ; 11. Arapacana ; 12. Sthira-
cakra ; 13. Vadirat,
XVI
CHAPTER IV. Bodhisattva Avalokitesvara | ... ... 124
1. Sadaksari Lokesvara ; 2. Sirhhanada ; 3. Khasarpana;
4. Lokanatha ; 5. Halahala ; 6. Padmanarttesvara ; 7- Hari^
hariharivahana ; 8. Trailokyavasankara ; 9. Rakta-Lokes'
vara ; 10. Mayajalakrama ; 11. Nilakantha ; 12. Sugati-
sandarsana ; 13. Pretasantarpita ; 14. Sukhavati Lokes*
vara ; 15. Vajradharma ; General.
CHAPTER V. Emanations of Amitabha - ... ... 145
I. Gods : ^
1. Mahabala ; 2. Saptasatika Hayagriva
II. Goddesses :
3. Kurukulla ; 4. Bhrkuti ; 5. Mahasitavatl
CHAPTER VI. Emanations of Aksobhya ... ... 154
I. Gods :
1. Candarosana ; 2. Heruka ; 3. Hevajra ; 4. Buddha-
/kapala ; 5. Sambara ; 6. Saptaksara ; 7. Mahamaya ;
8. Havamya ; 9 Raktayamah ; 10. Krsnayamari ; 11. Jam-
bhala ; 12. Occhusma Jambhala ; 13. Vighnantaka ;
14. Vajrahuhkara ; 15. Bhutadamara ; 16. Vajrajjvalana-
larka ; 17. Trailokyaviiava ; 18. Paramasva ; 19. Yogam-
bara ; 20. Kalacakra.
CHAPTER VII. Emanations of Aksobhya (continued) ... 189
II. Goddesses :
1. Mahaclnatara ; 2. Janguli ; 3* Ekajata ; 4. Vidyu-
jjvalakarall ; 5. Parnasabarl ; 6. ^Prajnaparamita ; 7. Vajra-
carcika ; 8. Mahamantranusarini ; 97^/TanSpratyahgira ;
10. Dhvajagrakeyura ; 11. Vasudhkra ; 12. Nairatma ;
13. Jnanadakini ; 14. VajravidaranL
CHAPTER VIII. Emanations of Vairocana ... ... 206
I. Gods :
1. Namasahgiti
II. Goddesses ;
2. M and ; 3. Usnisavijaya ; 4. Sitatapatra Aparajita ;
5. MahasahasrapramardanI ; 6. Vajravarahl ; 7. Cunda ;
8. Grahamatrka.
CHAPTER IX. Emanations of Amoghasiddhi ... ... 226
I. Gods :
1 . Vajramrta
XVJI
II. Goddesses :
2. Khadiravam Tara ; 3. Mahasrl Tara ; 4. Vasya-
tara ; 5. Sadbhuja Sitatara ; 6. Dhanada Tara ; 7. Sitatara
8. Parnasabari ; 9. Mahamayun ; 10. Vajrasrnkhala ;
11. Vajragandhari.
CHAPTER X. Emanations of Ratnasambhava ... ... 237
I. Gods : ^>^~
1. Jambhala ; 2. Ucchusma Jambhala
II. Goddesses : .s**
3. Vaipatara ; 4. Mahapratisara ; 5. Vasudhara ;
6. ApaJtfjita ; 7. Vajrayogim ; 8. Prasanna Tara
CHAPTER XL Collective Deities ... ... ... 251
I. Ten Gods of Direction : ... ... ... 251
1. Yamantaka ; 2. Prajnantaka ; 3. Padmantaka ;
4. Vighnantaka ; 5. Takkiraja ; 6. Niladanda ; 7* Maha-
bala ; 8. Acala ; 9. Usmsa ; 10. Sumbharaja.
II. Six Goddesses of Direction: ... ... 256
1. Vajrankusi ; 2. VajrapasI ; 3. Vajrasphota ;
4. Vajraghanta ; 5. Usmsavijaya ; 6. Sumbha.
III. Eight Usmsa Gods ; ... ... ... 299
1. Vajrosmsa ; 2. Ratnosmsa ; 3. Padmosmsa ;
4. Visvosmsa ; 5. Tejosmsa ; 6. Dhvajosmsa ; 7. Tik-
snosmsa ; 8. Chhatrosmsa.
IV. Five Protectresses : ... ... ... 302
1. Mahapratisara ; 2. Mahasahasrapramardani ;
3. Mahamantranusarim ; 4. Maha$ItavatI ; 5. Maha*
mayurL
V. Taras of Five Colour : ... ... ... 306
1. Green Tara ; 2. White Tara ; 3. Yellow Tara ;
4. Blue Tara; 5. Red Tara.
VI. Eight Gaurl Group : ... ... ... 309
1. Gaurl; 2. Cauri ; 3. Vetall ; 4. Ghasmarl ;
5. Pukkasi; 6. Saban ; 7. Candali ; 8. Dombi.
VII. Four Dance Deities : ... ... ... 312
1. Lasya ; 2.. Mala; 3. Gita ; 4. Nrtya.
VIIL Four Musical Instruments : ... .., 314
L Vaihsa ; 2. Vina; 3. Mukunda ; 4. Muraja.
XVIII
IX. Four Door Goddesses : ... ... ... 316
L Talika ; 2. KuncI ; 3. Kapata ; 4. Patadharinl
X. Four Light Goddesses : ... ... ... 317
1. Suryahasta ; 2. Dlpa ; 3. Ratnolka ; 4. Tadit-
kara.
XL Four Animal-Faced Goddesses : ... ... 319
1. Hayasya ; 2. bukarasya ; 3. Svanasya ; 4. Sim-
hasya.
XIL Four Dakim Group : ... ... . 321
1. Dakim ; 2. Lama ; 3. Khandaroha ; 4. Rupim.
CHAPTER XIL Philosophical Deities : ... 323
I. Twelve Paramitas : ... ... ... ... 323
1. Ratnaparamita ; 2. Danaparamita ; 3. cillapara-
mita ; 4. Ksantiparamita ; 5. Viryaparamita ; 6. DKya-
naparamita ; 7. Prajnaparamita ; 8 Upayaparamita ;
9. Pranidhanaparamita ; 10. Balaparamita ; 11. Jnana*
paramita ; 12. Vajrakarmaparamita.
II. Twelve Vasita Goddesses : ... ... ... 328
1. Ayurvasita ; 2. Cittavasita ; 3. Pariskaravasita ;
4. Karma vasita ; 5. Upapattivasita ; 6. Rddhiva-
sita ; 7. Adhimuktivasita ; 8. Pranidhana vasita ;
9. Jnanavasita ; 10. Dharmavasita ; 11. Tathatavasita ;
12, Buddhabodhiprabha-vasita.
III. Twelve Bhumis : ... ... ... 333
1. Adhimukticarya ; 2. Pramudita ; 3. Vimala ;
4* Prabhakan ; 5. Arcismatl ; 6. Sudurjaya ; 7. Abhi-
mukhl ; 8. Durangama ; 9. Acala ; 10. Sadhu-
mat! ; 11. Dharmamegha ; 12* Samantaprabha.
IV. Twelve Dharinls : ... ... ... 337
1. Sumati ; 2. Ratnolka ; 3. Usrnsavijaya ;
4» Marl ; 5. Parnasabarl ; 6. Jahgull ; 7. Ananta-
mukhl ; 8 Cunda ; 9. Prajnavardhanl ; 10. Sarvakar-
mavaranavisodhanl ; 11. Aksayajnanakaranda ; 12
Sarvabuddhadh armakosa vatL
V. Four Pratisamvits : ... ... ... 342
L Dharma Pratisamvit ; 2. Artha Pratisamvit ;
3. Nirukti Pratisamvit ; 4. Pratibhana Pratisamvit.
XIX
: CHAPTER XIII. Hindu Gods in Vajrayana : ... ... 344
1. Mahakala ;
2. Ganapatl ;
3. Ganapatihrdaya ;
4 Sarasvatl ;
5. The Eight Dikpalas : ... ... 352
I Indra ; II. Yama ; III. Varuna ; IV. Kubera ;
V. Isana ; VI. Agni ; VII Nairrti ; VIII. Vayu
6. Ten Principal Hindu Deities : **r~ ... 363
^IT Brahma ; II. Visnu ; III. "Stahesvara ; IV.
Karttikeya ; V. Varahl ; VI. Camunda ; VII.
BhrngI; VIII. Ganapati ; IX MahSkala ; X.
Nandikesvara.
7. Nine Planets: ... ... ... 367
I. Aditya; II. Candra ; III. Mangala ; IV.
Budha; V. Brhaspati ; VI. Sukra ; VII. 3ani;
VIII. Rahu ; IX. Ketu.
8. Balabhadra Group : ... ... ... 378
I. Balabhadra ; II. Jayakara ; III. Madhukara ;
IV7, Vasanta.
9. Lords of the Yaksas, Kinnaras, Gandharvas and
Vidyadharas : ... ... ... ... 379
I. Yaksa Kings ; II. Kinnara King ; III. Gandharva
King; IV. Vidyadhara King.
10. Twenty-Eight Constellations ... ... 381
11. Time Deities: ... ... ... 382
I. Months ; II. Dates ; III. Zodiacal Signs ;
IV. Seasons
CHAPTER XIV. Conclusion ... ... ..." 334
Apppendix. 108 Forms of Avalokitesvara ... ... 394
Glossary ... ... ... ... ... 432
Index of Words ... ... .„ ... 443
Index of Illustrations ... ... ... ... 457
LIST OF ILLUSTRATIONS
Fig. Names Page
1. Maya's Dream (Bharhut) . ... 33
2. BodhiTree (Sanchi) .. ... .. 33
3. Buddha's Head-dress (Bharhut) ... 36
4. Buddha's Footprints (Bharhut) ... ... 36
5. WheeLof-the-law (Bharhut) .. .. 36
6. Simbhu (Nepal) ... ... ... 37
7. Baudh (Nepal) ... .. ... 37
8. Kathe Simbhu (Nepal) . 37
9. Dharma (Nepal) ... ... , ... 40
10. Buddha (Nepal) ... ... ... 40
11. Sangha (Nepal) ... 40
12. Adibuddha Vajradhara (Nepal) ... ... 57
13. Vajradhara (Baroda Museum) ... ... 58
14. Vajradhara Yab^yum (Nepal) ... ... 58
15. Vajradhara Yab-yum (side view) . ... 58
16. Vajradhara (Baroda Museum) ... . 58
17. Buddha in different Mudras (Nalanda Museum) ... 59
18. Buddha in different Mudras (Java) ... ... 59
19. Amitabha (Nepalese miniature) .. ... 60
20. Pandara (Nepalese drawing) ... ... 60
2L Padmapani (Nepal) ... . ... 60
22. Aksobhy a (Nepalese miniature) ... ... 60
23. Aksobhya (Nepal) ... ... ... 61
24. MamakI (Nepalese drawing) ... 61
25. Vajrapani (Nepal) ... ... ... 61
26. Vajrapani (Indian Museum) ... .. 62
2?. Vajrapani (Nalanda Museum) ... ... 62
28. Vairocana (Nepalese miniature) ... ... 62
29. Vairocana (Nepal) ... ... 62
30. Vairocana Vajradhatu (Peiping) .. ... 63
31. Locanl (Nepalese drawing) ... ... 63
32. Samantabhadra (Nepal) ... ... 63
33. Amoghasiddhi (Nepalese miniature) ... ... 64
34. Amoghasiddhi (Nepal) ... ... 64
XXI
Fig. Names ' Page
35. Tara (Nepalese drawing) ... ... 64
36. Vilvapani (Nepal) ... ... ... 65
37. Ratnasambhava (Nepalese miniature) ... ... 65
38. Ratnsambhava (Nepal) ... ... 65
39. Vajradhatvisvari (Nepalese drawing) . ... 66
40. Ratnapani (Nepal) ... ••• ... 66
41. Vajrasattva (Nepal) .. ... 66
42. Vajrasattva (Baroda Museum) ... .- '67
43. Vajrasattva Yab-yum (Nepal) ... ... 67
44. Vajrasattva Yab-yum (side view) ... ... 67
45. Seven Mortal Buddhas with Maitreya (Indian
Museum) ... ... ... 68
46. Vajrasana (Indian Museum) ... .». 68
47* Maitreya (Nepalese drawing) ... ... 69
48. Samantabhadra (Nepalese drawing) ... ... 69
49. Aksayamati (Nepalese drawing) ... ... 69
50. Aksayamati (Peiping)... ... ... 70
51. Ksitigarbha (Nepalese drawing) .. ... 70
52. Akasagarbha (Nepalese drawing) ... ... 70
53. Gaganaganja (Nepalese drawing) ... ... 71
54. Ratnapani (Nepalese drawing) ... ... 71
55. Sagaramati (Nepalese drawing) ... ... 71
56. Vajragarbha (Nepalese drawing) ... ... 72
57. Avalokitesvara (Nepalese drawing) ... ... 72
58. Mahasthamaprapta (Nepalese drawing) •• 72
59. Candraprabha (Nepalese drawing) ... ... 105
60. Jalinlprabha (Nepalese drawing) ... ... 105
61. Amitaprabha (Nepalese drawing) ... ... 105
62. Pratibhanakuta (Nepalese drawing) ... ... 106
63. Sarvasokatamonirghatamati (Nepalese drawing) ... 106
64. Sarvanivaranaviskambhi (Nepalese drawing) ... 106
65. Maitreya (Nepalese drawing) ... ... 107
66. Manjusr! (Nepalese drawing) ... ... 107
67. Gandhahasti (Nepelese drawing) ... ... 107
68. Jnanaketu (Nepalese drawing) ... '... l68
69. Bhadrapala (Nepalese drawing ... '... 108
70. Sarvapayanjaha (Nepalese drawing) ... ' ... '108
71. Sar vapiy an jaha (Peiping) ... .:. '109
72. Amoghadarsin (Nepalfese drawing) ... ' - !.-. i09
'73. Surangama (Nepalese drawing) ... ' ..: "J09
74. Manjusn with Ganapati and Vi^snu (Baroda Museum^:/ 1 10
XXII
Fig. Names Page
75. Vajraraga (Baroda Musem) ... ... 110
76. Vajraraga (Nepalese drawing) ... ... 110
77. Siddhaikavlra (Sarnath Museum) ... ... Ill
78. Vajrananga (Nepalese drawing) ... ... Ill
79. Namasanglti Manjusrl (Nepalese drawing) ... 111
80. Namasanglti Manjusrl (Peiping) ... ... 112
81. Vaglsvara (Indian Museum) ... ... 112
82. Vaglsvara (Nepal) ... ... ... 112
83. Manjuvara (Birbhum) ... ... ... 169
84* Manjuvara (Indian Museum) ... ... 169
85. Manjuvara (Indian Museum) .-. ... 169
86. Manjuvara (Nepal) ... ... ... 170
87. Manjuvajra (Baroda Museum) ... ... 170
88. Manjukumara (Nepalese drawing) ... ... 170
89. Arapacana (Dacca Museum) ... ... 171
90. Arapacana (Berlin Museum) ... ... 172
9L Arapacana (Nepal) ... ... ... 172
92. Arapacana (Baroda Museum) ... .. 172
93. Sthiracakra (Vanglya Sahitya Parisat) ... ... 173
94- Sadaksari Group (Sarnath Museum) ... ... 173
95. Sadaksari Group (Indian Museum) ... ... 173
96. Sadaksari Group (Birbhum) ... ... 174
97. Sadaksari Lokesvara (Baroda Museum) ... 174
98. Sadaksari Mahavidya (Sarnath Museum) ... 174
99. Simhanada— Mahoba (Lucknow Musuem) ... 175
100. Simhanada (Nepal) ... ... ... 176
101. Simhanada (Magadha) ... ... 176
102. Simhanada (Nepal) ... ... ... 176
103. Khasarpana (Vikrampur, Dacca) ... ... 257
104. Khasarpana (Indian Musuem) ... ... 259
105. Lokanatha— Mahoba (Lucknow Museum) ... 258
106. Lokanatha (Baroda Museum) ... ... 259
107. Lokanatha (Sarnath Museum) ... ... 259
108. Lokanatha (Nepal) ... ... 260
109. Halahala (Nepal) ... ... ... 260
110. Padmanarttesvara (Nepal) ... ... 260
111. Padmanarttesvara (Peiping) ... ... 261
112. Padmanarttesvara (Nepalese drawing)... ... 261
113. Harihariharivahana (Nepalese drawing) ... 261
114. Trailokyavasahkara (Peiping) ... ... 262
115. Raktaiokesvara (Peiping) ... ... 262
XXIII
Fig. Names Page
116. Ntlakantha (Sarnath Museum) ... ... 262
117. Sugatisandarsana {Nepalese drawing) ... ... 263
118 Pretasantarpita (Nepalese drawing) ... 263
119. Sukhavati Lokesvara (Nepal) ... ... 263
120. Vajradharma (Nepalese drawing) .. ... 264
121. Kurukulla (Nepalese drawing) ... ... 264
122. Kurukula (Peiping) ... ... ... 264
123 BhrkutI (Peiping) ... ... ... 265
124. Gandarosana (Nepalese drawing) ... ... 265
125. Heruka (Dacca Museum) ... ... 265
126. Buddhakapala (Nepalese drawing) ... ... 266
127. Buddhakapala (Baroda Museum) ... ... 266
128. Hayagrlva (Nepalese drawing) ... ... 266
129. Hayagrlva (Peiping) ... ... ... 267
130. U cchus ma Jambhala (Sarnath Museum) ... 267
131. Vighnantaka (Baroda Museum) ... ... 267
132. Paramasva (Nepalese drawing) ... ... 268
133. Yogambara (Peiping) ... ... ... 263
134. Kalacakra (Nepalese drawing) ... ... 268
135. Mahaclna Tara (Nepalese drawing) ... - 269
136. Mahaclna Tara (Nepalese drawing) ... ... 269
137. Jangul! (Nepalese drawing) ... ... 269
138 Ekajata (Indian Museum) ... ... 270
139. Ekajata (Nepalese drawing) ... ... 270
140. Parnasaban (Indian Museum) ... ... 270
141. Prajnaparamita (Leiden, Holland) ... ... 271
142. Prajnaparamita (Indian Museum) ... ... 271
143. Vajracarcika (Nepalese drawing) ... ... 271
144. Pratyangira (Nepalese drawing) ... ... 272
145. Pratyangira (Nepalese drawing) ... ... 272
146. Pratyafigira (Nepal) ... ... ... 272
147. Dhvajigrakeyura (Nepalese drawing)... ... 274
148. Nairatma (Indian Museum) ... 274
149. Nairatma (Vangiya Sahitya Parisat) ... ... 274
150. Vajravidaram (Nepalese miniature) ... ... 274
151. Namasahglti (Nepal) ... ... ... 276
152. Astabhuja MaricI (Indian Museum) ... ... 275
153. Astabhuja MaricI (Indian Museum) ... ... 276
154. Astbhuja MaricI (Lucknow Museum)... ... 276
155. Dasabhujasita MaricI (Nepalese drawing) ... 278
156. Usnlsavijaya -(Indian Museum) ... ... 277
XXIV
Fig* Names Page
157. Usmsavijaya (Nepalese miniature) ... ... 278
158. Sitatapatra Aparajita (Nepalese drawing) ... 278
J59. Vajravarahi (Nepalese drawing) ... ... 279
160. Vajravarahi (Baroda Museum) ... ... 279
161. Cunda (The late Mr. W. B. Whitney) ... 279
162* Cunda (Nepalese miniature) ... ... 280
163. Cunda (Baroda Museum) ... ... 280
164. Cunda (Bodh-Gaya) ... ... ... 280
165. Grahamatrka (Nepalese miniature) ... , ... 282
166. Khadiravam Tara — Mahoba (Lucknow Museum) ... 281
167. Khadiravam Tara (Indian Museum) ... ... 282
168. Khadiravam Tara (Baroda Museum) ... ... 282
169. Mahasri Tara (Indian Museum) ... ... 283
170. Vasyatara (Nepalese drawing) ... ... 284
171. Sadbhuja Sitatara (Nepalese drawing)... ... 284
172. Dhanada Tara (Nepalese drawing) ... ... 284
173. Parnasabarl (Vikrampur, Dacca) ... ... 285
174. Parnasabarl (Vikrampur, Dacca) ... .. 286
175. Vajrasrnkhala (Nepalese drawing) . ... 286
176. Jambhala (Nepal) ... .. ... 286
177. Jambhala (Vikrampur, Dacca) ... ... 287
178. Jambhala (Vikrampur, Dacca) ... ... 288
179. Jambhala Yab-yum (Nepalese drawing) ... 288
180. Vajratara (Indian Museum) ... ... 288
181. Vajratara (Orissa) ... ... ... 289
182. Vajratara (Nepal) ... ... ... 289
183. Puspatara Peiping ... ... ... 289
184. Mahapratisara (Dacca Sahitya Parisat) ... 290
185. Mahapratisara (Dacca Museum) ... ... 290
186. Vasudhara (Nepalese drawing) •• ... 290
187. Vasudhara (Nepal) ... ... ... 291
188. Vasudhara (Baroda Museum) ... ... 291
189. Aparajita (Nalanda Museum) ... ... 291
190. Aparajita (Indian Museum) ... ... 292
19L Vajrayogim (Temple at Sahku) ... ... 292
192. Prasannatara (Nepalese drawing) ... ... .292
193. Vajrapasi (Peiping) ... ... ... 293
194. Vajrasphota (Peiping)... ,.. ... 293
195. Vajrosnisa (Peiping) ... ... ... 293
196. Mahapratisara (Nepalese miniature) ... ... 294
197. Mahasahasrapramardam (Nepalese miniature) ... 294
XXV
Fig, Names Page
198. Mahamantranusarim (Nepalese miniature) ... 294
199. Mahasltavati (Nepalese miniature) ... ... 295
200. Mahamayuri (Nepalese miniature) ... ... 295
201. - Mahattarl Tara (Nepal) ... ... 295
202. Vetall (Peiping) ... ... 296
203. Ghasmarl (Peiping) ... ... 296
204. Pukkasi (Peiping) ... -• 296
205. Dombi (Peiping) ... ... 353
206. Lasya (Peiping) ... ... 353
207. Gita (Peiping) ... ... 353
208. Nrtya (Peiping) ... ... 354
209. Vina (Peiping) ... ... 354
210. Mukunda (Peiping) ... ... 354
211. Talika (Peiping) ... ... 355
212. Kapata (Peiping) .. ... 355
213. Dlpa (Peiping) ... ... 355
214. Ratnolka (Peiping) ... ... 356
215. Simhasya (Dr. Moghe's Collection) .. ... 356
216. Simhasya, upper view (Dr. Moghe's Collection) ... 356
217. DSkinl (Peiping) ... ... 357
218. Lama (Nepalese painting in colour) ... ... 376
219. Dhyana Paramita (Peiping) ... ... 357
220. Pnmidhana Paramita (Peiping) ... ... 357
221. Upapatti Vasita (Peiping) ... ... 358
222 Rddhi Vasita (Peiping) ... ... 358
223. Dharmamegha (Peiping) ... ... 358
224. Nirukti Pratisaifavit (Peiping) ... ... 359
225. Pratibhana Pratisarhvit (Peiping) .. ... 359
226. Mahakala (Nepal) ... ... 359
227. Ganapati (Dr. Moghe's Collection) ... ... 360
228. Ganapati (Maharani Chimanabai Collection) ... 360
229. Ganapatihrdaya (Nepalese miniature)... ... 360
230. Mahasarasvati (Nepalese drawing) ... ... 369
231. Vajravlna Sarasvatl (Peiping) ... ... 369
232. Vajrasarada (Nepalese drawing) ... ... 369
Z33. Vajrasarada (Nalanda Museum) ... ... 370
Z34. Arya'Sarasvatl (Nepalese drawing) ... ... 370
235. Vajrasarasvati (Nepalese drawing) ... ... 370
236. Indra (Peiping) ... ... 371
237- Agni (Peiping) ... ... 371
138. Vayu (Peiping) ... ... 371
XXVI
Fig. Names Page
239. Brahma (Peiping) ... ... 372
240. Mahesvara (Peiping) ... ... 372
241. Ganapati (Peiping) ... ... 372
242. Rahu (Peiping) ... ... 373
243. Ketu (Peiping) ... ... 373
244. Navami Tithi (Peiping) ... ... 373
245 Dasami Tithi (Peiping) ... ... 374
246. Tula (Peiping) ... ... 374
247. Kumbha (Peiping) ... ... 374
248. Mma (Peiping) ... ... 375
249. Khadiravam Tara (Dacca Museum) ... ... 375
APPENDIX
Eye-copy of paintings in the Machhandar Vahal,
Kathmandu, Nepal
Fig. Names Page
1(A). Hayagriva Lokesvara ... ... 401
2(A). Mojaghanjabala (?) Lokesvara ... ... 401
3(A). Halahala Lokesvara ... ... 401
4(A). Harihariharivahana Lokesvara ... ... 401
5(A). Mayajalakrama Lokesvara ... ... 402
6(A). Sadaksan Lokesvara ... ... 402
7(A). Anandadi Lokesvara ... ... 402
8(A) Vasyadhikara Lokesvara ... ... 402
9(A). Potapada Lokesvara ... ... 403
10(A). Kamandalu Lokesvara ... ... 403
11(A). Varadayaka Lokesvara ... ... 403
12 (A). Jatamukuta Lokesvara ... ... 403
13(A). Sukhavati Lokesvara ... ... 404
14(A) Pretasantarpana Lokesvara ... ... 404
15(A). Mayajalakramakrodha Lokesvara ... ... 404
16(A). Sugatisandarsana Lokesvara ... ... 404
17(A), Nilakantha Lokesvara ... ... 405
18(A), Lokanatha-Raktaryyavalokitesvara ... 405
19(A), Trailokyasandarsana Lokesvara ... ... 405
20(A). Sirhhanatha Lokesvara ... ... 405
21 (A). Khasarpana Lokesvara ... ... 406
22(A). Manipadma Lokesvara ... ... 406
23(A). Vajradharma Lokesvara ... ... 406
24(A). Pupala (?) Lokesvara ... ... 406
25(A). Utnauti (?) Lokesvara ... ... 407
26(A)* Vrsnacana Lokesvara ... ... 407
27(A). Brahmadanda Lokesvara ... ... 407
28(A). Acata (?) Lokesvara ... ... 407
29(A). Mahavajrasattva Lokesvara ... .. 408
30(A), Visvahana Lokesvara ... ... 408
31(A). Sakyabuddha Lokesvara ... ... 408
32(A). Santasi Lokesvara ... ... 408
XXVIII
Fig. Names Page
33(A). Yamadanda Lokesvara ... ... 409
34(A). Vajrosmsa Lokesvara ... ... 409
35(A). Vajrahuntika (?) Lokesvara .. ... 409
36( A) . Jnanadhatu Lokesvara ... ... 409
37(A). Karandavyuha Lokesvara ... ... 410
38(A). Sarvanivaranaviskambhi Lokesvara ... 410
39(A). Sarvasokatamonirghata Lokesvara • ... 410
40(A). Pratibhanakuta Lokesvara ... ... 410
4l(A). Amrtaprabha Lokesvara ... ... 411
42(A). Jaliniprabha Lokesvara ... - ... 411
43(A). Candraprabha Lokesvara ... ... 411
44(A). Avalokita Lokesvara ... ... 411
45(A). Vajragarbha Lokesvara ... ... 412
46(A). Sagaramati Lokesvara ... ... 412
47(A). Ratnapani Lokesvara ... ... 412
48(A). Gaganaganja Lokesvara ... ... 412
49(A). Akasagarbha Lokesvara ... ... 413
50(A), Ksitigarbha Lokesvara ... ... 413
51 (A). Aksayamati Lokesvara ... ... 413
52(A). Srstikanta Lokesvara ... ... 413
53(A). Samantabhadra Lokesvara ... ... 414
54(A). Mahasahasrabhuja Lokesvara ... ... 414
55(A). Maharatnaklrti Lokesvara ... ... 414
56(A). Mahasankhanatha Lokesvara ... ... 414
57(A). Mahasahasrasuryya Lokesvara ... ... 415
58(A). Maharatnakula Lokesvara *.. ... 415
59(A). Mahapatala Lokesvara ... ... 415
60(AK Mahamanjudatta Lokesvara ... ... 415
61(A). Mahacandrabimba Lokesvara ... ... 416
62(A). Mahasuryyabimba Lokesvara ... ... 416
63(A). Maha-Abhayaphalada Lokesvara ... ... 416
64(A). Maha-Abhayakarl Lokesvara ... ... 416
65(A)* Mahamanjubhuta Lokesvara ... ... 417
66(A). Mahavisvasuddha Lokesvara ... ... 417
67(A). Mahavajradhatu Lokesvara ... ... 417
68(A). Mahavajradhrk Lokesvara ... ... 417
69(A). Mahavajrapani Lokesvara ... ... 418
70(A). Mahavajranatha Lokesvara ... ... 418
71(A). Amoghapasa Lokesvara ... ... 418
72(A). Devadevata Lokesvara ... ... 418
73(A). Pindapatra Lokesvara ... ... 419
XXIX
Fig. Names Page
74(A). Sat thavaha Lokesvara ... ... 419
75(A). Ratnadala Lokesvara ... ... 419
76(A). Visnupani Lokesvara ... ... 419
77(A). Kamalacandra Lokesvara ... ... 420
78(A). Vajrakhanda Lokesvara ... ... 420
79(A). Acalaketu Lokesvara ... ... 420
80(A). Sirisara(?) Lokesvara ... ... 420
8l(A). Dharmacakra Lokesvara .., ... 421
82(A). Harivahana Lokesvara ... ... 421
83(A). Sarasiri (?) Lokesvara ... ... 421
84(A). Harihara Lokesvara ... ... 421
85(A). Simhanada Lokesvara ... ... 422
86(A). Visvavajra Lokesvara ... ... 422
87(A). Amitabha Lokesvara ... ... 422
88(A). Vajrasattvadhatu Lokesvara ... ... 422
89(A). Visvabhuta Lokesvara ... ... 423
90(A). Dharmadhatu Lokesvara ... ... 423
91(A). Vajradhatu Lokesvara ... ... 423
92(A). Sakyabuddha Lokesvara ... ... 423
93(A). Cittadhatu Lokesvara ... ... 424
94(A). Cintamani Lokesvara ... ... 424
95^AK Santamati Lokesvara ... ... 424
96(A). Manjunatha Lokesvara ... ... 424
97(A). Visnucakra Lokesvara ... .. 425
98(AK Krtanjali Lokesvara ... ... 425
99(A). Visnukanta Lokesvara ... ... 425
100(A). Vajrasrsta Lokesvara ... ... 425
101(A). oankhanatha Lokesvara ... ... 426
102(A). Vidyapati Lokesvara ... ... 426
103(A). Nityanatha Lokesvara ... ... 426
104(A). Padmapani Lokesvara ... ... 426
105(A). Vajraparii Lokesvara ... ... 427
106(AK Mahasthamaprapta Lokesvara ... ... 427
107(A). Vajranatha Lokesvara ... ... 427
108(A). £nmad-Aryyavalokitesvara ... ... 427
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lished in the monthly magazine "Narayana", Calcutta.
2. Introduction to N. N. Vasu's "The Modern Buddhism and its
Followers in Orissa." Calcutta, 1911.
3. A Catalogue of Palm*leaf and Selected paper Manuscripts
belonging to the Durbar Library, Nepal, Vol. I (1905) and Vol.11
(1915), Calcutta.
4. A Descriptive Catalogue of Sanskrit MSS in the Qovernment
Collection under the care of the Asiatic Society of Bengal, Vol. L
Buddhist MSS, Calcutta, 1917.
5. 'Buddhists in Bengal' in the Dacca Review, Vol. II, No. 7, pp.
91—104, Dacca, 1922.
6. Discovery of Living Buddhism in Bengalt Calcutta.
7. Bauddha Qan O Doha (in Bengali) Sahitya Parisat Gran-
thavali No. 55, Calcutta, B. S. 1323.
8. Bangalar Parana Aksara (in Bengali) in the Journal of the
Vangiya Sahitya Parisat, B.S. 1327
9. 'The Discovery of a work by Aryadeva in Sanskrit* in JASB,
1898, p. 175 ff.
XXXIII
Sastri (H, Krishna)— South Indian Images of Qods and Qoddesses, Madras,
1916,
Senart (E)— le Uahavastu, Vol. 3, part I, Paris, 1882.
Smith (V. A.)— A History of Fine Arts in India and Ceylon, Oxford
1911.
Sujuki (D. T.) — The Outlines of Mah&yana Buddhism, London, 1907.
Ui (H)— The Vai'sesika Philosophy, edited by R W, Thomas, Oriental
Translation Fund, New Series, Vol. XXIV, London, 1917.
Vasu ( N, N. ) — The Modern Buddhism and its Followers in Orissa,
Calcutta, 1911.
2. The Archaeological Survey of Mayurbhanj, Calcutta.
Vogel ( J, Ph. )— Catalogue of the Archaeological Museum at Mathura,
Allahabad, 1910.
2. Introduction to D. R, Sahni's Sarnath Catalogue, See (Sahni,
D R.).
3. The Mathura School of Sculpture' contributed to the ASI,
Annual Report, 1906—7, pp. 137-160.
Waddell ( L. A. ) The Indian Buddhist Cult of Avalokita and his
Consort Tara, the 'Saviouress5 illustrated from the remains of
Magadha' JRAS, 1898.
2. The Buddhism of Tibet or Lamaism, London, 1895,
Wright (D)— History of Nepal, Cambridge, 1877.
ERRATA
Page
Line or Fig.
For
Read
VIII
6 and 23
Clarke
Clark
7
27
Budhhism
Buddhism
9
n. 3
jayote
jayate
15
23
willread
will read
17
3
inVajrayog:ni
In Vajrayogini
18
33
Siddhis
Siddhis was
18
34
In the
The
20
31
confees
confess
23
19
withe th
with the
26
15
lamp
lump
27
36
become
becomes
28
32
moniscience
omniscience
32
12
here in
herein
33
Fig. 2
Bodhi Tree
Bodhi Tree
(Amaravati)
(Sanchi)
43
3
Asia
India
63
Fig. 30
Vajradhatu
Vajradhatu
75
5
Yub-yum
Yab-yum
80
last
has
has this
109
Fig. 71
Sarvapayanjaha
Sarvapayanjaha
(Peiping)
134
n. 1
Calrk
Clark
154
1
CHAPTER V
CHAPTER VI
181
15
Siva
Siva
185
9
Vahana
Vahana —
219
1
VASYA
VAS"YA
227
23
Companion
Companions
229
24
VASYATARA
VASYATARA
295
Fig. 199
Mahasitavatl
Mahasitavati
359
Fig. 226
Mahakala
MahakSla
(Peiping)
(Nepal)
400
15
Mahapatala
Mahapatala
415
Fig. 59 (A)
Mahapatala
Mahapatala
429
37
88. Vrjrasattvadhatu
88. Vajrasattvadhatu
Introduction
1. Materials for the study of Buddhist Iconography.
All the three great religious systems of India, Hinduism, Buddhism
and Jainism developed well-filled pantheons, and it is not always easy
to decide to which of these three systems a particular image should be
assigned. The importance of the study of iconography, which prima*
rily concerns itself with the proper recognition of images thus becomes
apparent.
The difficulties of the investigator are increased by the fact that a
free and frequent interchange of deities took place among the three
religious systems. Such Hindu deities as Parvatl, Indra, LaksmI,
Sarasvatl are to be found among the Jaina.s. The Hindus, on the other
hand, have borrowed goddesses like Mahaclnatara, Jangull, Vajrayogini
from the Buddhist pantheon and incorporated them into their own
under the names of Tara, Manasa and Chinnamasta respectively. Thus
there is evidence that a free interchange of deities actually took place
at the verv outset of Buddhism and Jainism as in the more promiscuous
Tantru age. The Jainas and the Buddhists alike borrowed Hindu
gods in their earlier stages, but in the Tantric age Buddhist gods were
commonly exploited.
The problem of correct identification of images, therefore, presents
a real difficulty which ureat scholars have more than once attempted
to solve. Scholars of all countries, notably Waddell, Grunwedel,
Foucher, Burgess, Getty, Coomiraswamy, Bhattasali, Rakhaldas Banerji
and many others, have written useful and authoritative works, and
collected together a considerable amount of information on Buddhist
iconography. It is unfortunate, however, that the pantheon of the Indian
Vajrayanists who were mainly responsible in building it up has so far
been more or less neglected Getty and Deniker's 'Qods of Northern
Buddhism9, although a masterpiece, deals only with Tibetan, Chinese
and Japane.se gods but the purely Indian gods seem to have attracted
little notice from them. It was Professor Foucher who by the publi*
cation of his 'Eludes sur /' loniogrciphi? Bouddhique de L' Inde* in two
parts published as early as 1900 and 1905, first drew the attention of
scholars to this rich field of research. His curiosity was roused by a
stuoy of the miniatures appearing on such Buddhist manuscripts as the
Prajnaparamita, and then he made a systematic attempt to identify the
sculptures. For the purpose of recognising images he hunted out a
2 INTRODUCTION
number of Sadhanas from the manuscripts of Sadhanamala, and he
was surprised to find that the images tallied most remarkably with the
descriptions given in the unpublished text of the Tantric manuscript.
Again, the images and sculptures supplied interesting details such as
were not available in the Sadhana. Thus the Sadhana and the image
mutually enlightened each other. Professor Foucher's second volume
embodies a critical, although partial, study of the Sadhanamala and it
was this book that first emphasized the necessity of referring to a
Sadhana in order to make or justify any single identification of a Buddhist
image. When the present author was studying at the feet of the illus-
trious savant, Professor Foucher, at the Indian Museum, Calcutta, he
was advised to edit and study the different recensions of the
Sadhanamala before proceeding with the delicate art of identification of
Buddhist deities.
j The Sadhanamala is thus the most valuable_jm^i^
Buddhist iconograph^aot only because it records the latest advances
in psychic research of the Vajrayana Buddhists, but also because it was
a product of a period when Buddhism was about to be destroyed in
Bengal due to Mussalman invasion. This standard work on Buddhist
iconography has been published in two volumes as Nos. 26 and 41 of
the Qaekwad's Oriental Series with an elaborate introduction dealing
with the text and the various problems raised therein.
The edition of the Sadhanamala comprises^ 3 1 2
^
contains^d£scrij>tions of i^umerQus_Buddhist deities* All new Sadhanas
found in a different collection called the Sadhanasamuccaya have been
carefully incorporated in their appropriate places in the present edition,
which may very well represent a Vade Mecum of the Sadhana literature
of the Buddhists. The Sadhanamalanot only gives valuable details
regarding the deities, b^^jJtud^ historical
perio4r the Tantric philosophy,
and its psychic exercises, and on authors, Siddhas, Mantras, Mandalas,and
magic as prevalent among the Buddhists. The special .form of Buddhism
which developed in the Tantric period is called the Vajrayana, and the
Sadhanamala throws a great deal of light on this obscure path of Bud-
dhism which was current in India from the 7th to the 13th century A.D.
TKe Sadhanamala does not however exhaust the material for the
study of Indian Buddhist Iconography, One of the Sadhanamala Mss.
is dated ir the Newari Era 285 corresponding to A.D. 1165, and there-
fore, this work is not expected to record all the developments that
took place after 1165 A. D. Many of the later developments are
found incorporated in the work entitled the Dharmakosasangraha^ of
Amrtananda who was the Residency Pandit when B. Hodgson was the
INTRODUCTION 3
Resident of Nepal. A manuscript of this work is preserved in the
Durbar Library of Nepal, and there is also a copy of the original,
preserved in the Royal Asiatic Society of Bengal in the Government
Collection. Amrtananda's work is not published.
Besides Amrtananda's work there are others more ancient and capable
of supplying much iconographic material. One such work is the
Nispannayogavali of Mahapandita Abhayakara Gupta of the Vikrama-
stla monastery who flourished during the reign of the Pala King Rama-
pafa ( A.D. 1084-1130 ). This valuable work is now published in the
Qaekwad's Oriental Series as No. 109 with an elaborate introduction and
a full summary of its contents
The Nispannayogavali is a work on Mandalas and is remarkable for
its richness of information and brevity. It contains in all 26 Mandalas
in twenty-six chapters, some short, some long. All these Mandalas
describe innumerable deities of the Tantra cult. A large number pf
these descriptions is absolutely original, Tiighly interesting and informa-
tive. Many of the names and forms which were altogether lost, are
published here for the first time. Many of the deities described
accurately in the work are not to be found anywhere in printed
literature. The Nispannayogavali thus presents a unique, original, useful
and most valuable information which constitutes our most authentic
material for the study of the images and deities belonging to the
Buddhist pantheon. Nispannayogavali outbeats Sadhanamala since
the material presented here is more varied, more extensive and more
prolific.
What service this Nispannayogavali can render to Buddhism may be
illustrated by a reference to the several hundreds of images of Buddhist
deities discovered in the Forbidden City of Peiping in Manchuiia. In
July 1926 Stael Holstem the Russian archaeologist received permission to
visit a number of Lama temples situated in Peiping which seem to have
been neglected for a long time. In the upper storey of one of these
temples he found a collection of bronze statuettes constituting a
Lamaist Pantheon which had consisted originally of 787 figures. These
figures along wuh a series of photographs from three manuscripts
written in Chinese were studied "by the famous American Professor
Walter Eugene Clark, Wales Professor of Sanskrit in the Harvard
University, and he published this rich material in two sumptuous
volumes, entitled, the Two Lamai&ic Pantheons in the Harvard Yenching
Institute Monograph Series in the year 1937. The first volume contains
an introduction, bibliography and indexes of deities in Sanskrit, Tibetan
and Chinese. The second volume contains illustrations of innumerable
deities.
4 INTRODUCTION
These illustrations are of the utmost importance for the study of
the Buddhist pantheon not only of China but also of India, Nepal and
Tibet. The original images bear inscriptions in Chinese and sometimes
in Tibetan and other languages, and the learned editor took great pains
in restoring their original Sanskrit names. A large number of these
names derived from Chinese sources is found in the Nispannayogavall
with their full iconographic descriptions. Thus the Nispannayogavall
provides the much needed descriptive texts which served as a basis for
the artists to prepare the statuettes found in China. Since this book
Nispannayogavall gives full iconographic descriptions of most of these
deities it is not unreasonable to suppose that the Nispannayogavall
formed at least one of the originals from which the artists obtained the
correct idea of the form of the numerous deities represented in the
statuettes. Otherwise it is difficult to conceive how form can be given
to such obscure deities as the Sixteen Boddhisattvas, the Twelve Para-
mitas, the Twelve Vasitas, the Twelve Bhumis, the Four Pratisamvits,
etc. which are described accurately in the Manjuvajra Mandala of the
Nispannayogavall. It is simply imposible to prepare images of these
deities without the help of descriptions as given by Abhayakaragupta.
The volume of information given in the Nispannayogavall of Abhayakara-
gupta is so great that an independent book is required to deal with them
exhaustively.
Besides the above mentioned Nispannayogavall, there are numerous
Tantric texts which furnish considerable material for the study of
Buddhist iconography of the Tantric period with which this work
primarily concerns itself. Some of the more important materials can
be found in the original Tantra works such as the Heruka and the
Hevajra Tantras, Candamaharosana Tantra, Vajravarahi Tantra,
Kriyasamuccaya, Vajravali nama Mandalopayika, Yoginijala Tantra
Abhidhanottra Tantra and many others The list of such original
Tantras furnishing valuable information on Buddhist deities can by no
means be exhausted. The works above mentioned are all unpublished,
and their handwritten copies can be found in the manuscript libraries
such as the Durbar Library, Nepal; Asiatic Society's Library, Bengal;
University Library, Cambridge; Musee Guimet, Paris; and the Russian
Academy of Sciences in Leningrad. Numerous such manuscripts are
also to be found in the hundreds of Buddhist monasteries of Nepal at
Kathmandu, Pattan and Bhatgaon. Thus there is still an inexhaustive
field for research and original work in Buddhist iconography alone
It is a pity that these valuable and original source books of Buddhism
should remain unpublished in this country, and sooner attention is
drawn to this field of work, the better it will be for the history of our
INTRODUCTION 5
cultural past. It is a matter of deep regret that even tx>day there are
lakhs of handwritten manuscripts in India in private houses, and no
effort is being made to collect or preserve them. Thus these valuable
source books of Indian history and culture are allowed to perish in
India. Sanskrit being the most important member of the Indo-European
family of languages is world property to-day, and it is the duty of every
scholar in the world to see that this precious heritage is not allowed
to be dissipated in an irresponsible manner.
There is another class of manuscripts which bears miniatures and
paintings of Buddhist gods and goddesses. The different recensions of
the Prajnaparamita and Pancaraksa bear miniature paintings on them.
Illuminated manuscripts of the Karandavyuha and Bodhicaryavatara are
also not unknown. The Pancaraksa manuscripts are to be found
almost in every Buddhist house in Nepal, they bear different sets of
miniatures, and are calculated to serve many household purposes. Holy
books are illuminated with miniatures in order that they may be treated
with respect by others, and in order that their sanctity may be increased
and preserved.
By far the most important material for .the study of Buddhist
iconography is represented by sculptures, bronzes, metal images and
miniatures. The earlier phases of Buddhism are more or less free from
the. representations of gods and goddesses. But scenes from Buddha's
life, and Jataka stories were given preference in the earlier Buddhism.
Such scenes and stories are found represented in stone at Sanchi,
Bharhut, Amaravati and also in the Gandhara school. According to
Professor Foucher the first image of the Buddha was fashioned in the
Gandhara school of art.(*) Sculptures of Bodhisattvas and Hindu gods
are not rare in this school. The sculpture remains at Amaravati are
contemporaneous with those of the Gandhara school. The Mathura
school followed closely and then came the sculptures of Sarnath,
Magadha, Bengal, Orissa, Java and Nepal in the Tantric age. The
paintings at Ajanta begin from the first century A.D. and the sculptures
of Ellora and many other places, Buddhist cave temples of Southern
and Northern India show the influence of immature Tantra on them.
Sculptures produced in the earlier schools have received ample atten-
tion of great scholars, but images belonging to the Tantric and post-
Tantric periods and profoundly influenced by the Tantras have not
been so fortunate. The excavations at Sarnath, Nalanda, Kurkihar
have brought to light a large number of images of Buddhist gods and
goddesses belonging to the Tantra school, and it may be reasonably
expected that the old strongholds of Tantric learning such as Odanta-
(1) Foucher : Beginnings of Buddhist Art and other essays, p. 1 17.
6 INTRODUCTION
puri, Vikramaslla, Nalanda, Sarnath and Jagaddala monasteries will
prove no less fruitful in this respect. The museums of Eastern India
such as Sarnath, Patna, Calcutta, Dacca, Rajshahi, Mayurbhanj,
Khiching and few others contain numerous metal images and sculptures
belonging to the Tantric cult. That Bengal in the pre-Muhammadan
period was practically Buddhist is made obvious by the fact that the
worship of Dharma and Manjughosa still prevails there, and that nu-
merous Buddhist sculptures are, being constantly discovered throughout
the length and breadth of the province. It is needless to add that the
Buddhist images discovered in Bengal, Bihar and Assam are mostly the
product of the Tantric school of the Buddhists.
The wealth of sculptural and bronze remains in Nepal has not yet
received the attention it deserved. Nepal is the only country which
abounds in rich material for the study of Buddhist iconography, and
in Nepal Buddhism can be studied as a living religion. Some of the
Buddhist monasteries at Pattan are so rich in images that they can be
said to constitute small museums by themselves. The stupa of Bodh-
nath alone contains no less than a hundred and eight sculptures execut-
ed in a neat manner. Occasional images of Guru Padmasambhava
in the peculiar Tibetan technique and costume bespeak the Tibetan
character of the temple. Forty-seven images in this famous temple are
represented in Yab-yum and the rest are single. About ten of th<» single
images depict the Siddhas of Tibet such as Mila-ras-pa, Mar-pa,
Padmasambhava, Naro-pa and others. Although Tibetan in character
the temple contains nevertheless some of the purely Indian gods of the
Vajrayana pantheon, such as Sadaksarl Lokesvara, Vak, Heruka,
Yamantaka and a few others. An old Tibetan tradition declares that
in the matter of art Bengal comes first, Nepal second while the Tibetan
and Chinese are the worst.
At Simbhu in Nepal one can witness the grandeur of an excellent
Buddhist museum where the finest specimens of Buddhist sculptures
are preserved round about the Stupa itself and in the surroundings. At
the Maccharidar Vahal or the temple of Matsyendranatha the great
Natha Yogin, there can be found 108 different forms of Avalokitesvara
painted on a running panel in colour.1 Images and forms of deities
that are not available in India are to be found in plenty in the Buddhist
monasteries in Nepal. Anywhere in Nepal round a central stupa tiers
of small chapels rising from the ground to the top are found to contain
first class artistic specimens of Buddhist gods and goddesses. In
monasteries which are run by courteous and learned Tantric monks
one can find quite a number of images, sculptures, bronzes, paintings
(1) These 108 forms tre illustrated in the Appendix at the end of this volume
INTRODUCTION 7
and illuminated manuscripts. It is possible to have an idea of the
enormous wealth of cultural remains in Nepal, when it is remembered
that the number of monasteries at Kathmandu alone exceeds five
hundred.
In Nepal, interesting material for the study of Buddhist iconography
is obtained from an entirely unexpected quarter. There is a class of
people called the Citrakaras or professional artists. They are so
proficient in their art that they can produce an excellent drawing of
any Buddhist deity in a few minutes. These artists seem to have a
phenomenal memory with regard to the iconographic details such as
the number of faces and hands, the pose, the symbols, the weapons and
the parental Dhyani Buddha. They prepare such drawings in the
presence of the customer without ever referring to a book or painted
specimen, although at home they keep albums full of drawings in black
and white and paintings in colour all relating to Buddhist deities. The
specimens obtained from a gifted Citrakara named Virman are repro-
duced in the body of the book in large numbers. All line drawings,
barring the twenty- four Bodhisattvas, reproduced in this volume are
from his drawings in black and white.
The above is a short survey of materials of different kinds that are
available to the student of Buddhist iconography. It may be noticed
that the images, sculptures, bronzes, drawings, miniatures, and the
gods and goddesses represented by these, together with the literature
explaining them, all belong to the Tantric mode of thought and
culture. They are brought together under the comprehensive term
of Vajrayana or the "Adamantine Vehicle". It leads therefore to a con-
sideration of that form of Budhhism which is well known as Vajrayana,
8 INTRODUCTION
2. Vajrayana Mysticism.
Both the Hindus and the Buddhists were alike prolific writers on
the Tantras and the literature extant on them is wonderfully extensive.
One of the reasons why the word Tantra cannot be defined is that the
Tantra comprises an astounding number of subjects along with its own
numerous sub-divisions. Whatever was best, whatever was ennobling
and whatever was beautiful in India were all incorporated in the
Tantra. Tantric literature contributes a great deal to such sciences as
astronomy, astrology, medicine, alchemy, chiromancy, horoscopy, divi^
nation, prognosis, Yoga and Hathayoga. The Tantra is an admixture
of religion, philosophy, science, superstition, dogmas, psychic exercises
and mysticism. In this wonderful literature is locked up much of the
cultural history of India, and when this literature is intensively studied,
it will reveal a great deal of India's past history and culture, particularly
for the period between the 7th century A. D. right upto the Muham-
madan conquest. It may here be mentioned that the Tantras, inspite
of all their faults, are peculiarly Indian and represent India's contribu^
tion to world culture. A literature of this kind is not found in the
history and civilization of any other country in the world.
To understand the rise of Vajrayana it is necessary to go back to
the original teachings of the Buddha. Lord Buddha prescribed
Yanas in the beginning, namely, the Sravakayana ancL the
buddhayana. The Srtvakas were to near IFom a Buddha but they had to
wait till the advent of another Buddha for their emancipation. In the
meanwhile the Sravakas could teach, but they could neither attain
Nirvana themselves nor help others to attain it. The Pratyekas were
eminent men ; they could attain Nirvana by their own efforts, without
the help of a Buddha but they could not impart Nirvana to others.
Buddhism continued in this state till the rise of the Mahayana pro-
perly called, the Bodhisattvayana.\ The Mahay anists dismissed the
previous Yanas with the contemptuous epithet of Hinayana. They
claimed that they could not only attain Nirvana, nay even Buddhahood,
with their own unaided efforts, but could also help others to attain
these ideals. The distinction between Mahayana and Hinayana is
graphically described in the earliest work, the Mahay anasutralankara,
attributed to the famous Buddhist sage Asahga.
Thus there were three Yanas in Buddhism about 300 A. D. which
may approximatelv be taken as the time of Asahga. But against these
three Yanas there were four schools of philosophy in Buddhism,
namely, the Sarvastivada (Sautrantika), the Vahyarthabhaiiga (Vai*
bhasika), the Vijnanavada (Yogacara), and therSunyavada (Madhya-
INTRODUCTION 9
maka). How these four systems of philosophy were distributed
amongst the three Yanas is one of the vital questions of Buddhism.
The Tattvaratna vail of Advayavajra (12th century A. D.) answers this
question in a praiseworthy manner. According to this authority
"Three are the Yanas, Sravakayana, Pratyekayana and Mahayana.
There are four theories; Vaibhasika, Sautrantika, Yogacara and
Madhyamaka. Sravakayana and Pratyekayana are explained by the
theories of the Vaibhasikas. Mahayana is of two kinds : Paramitanaya
and Mantranaya. Paramitanaya is explained by the theories either of
Sautrantika, Yogacara or Madhyamaka. Mantranaya is explained by
the theories of Yogacara and Madhyamaka only". l
Thus^ Mantranayacomilieuges with the most abstruse theories of
Sunyavada and Vijnanavada. Advayavajra in one place says, — "Mant-
ranaya is very abstruse. It concerns men who seek emancipation by
deep and solemn methods. It is also very extensive owing to the
understanding of such theories as the four symbolic representations.
Therefore, the author is not fit to explain it". - Advayavajra cites
for his authority a statement which says that the Mantrasastra trans-
cends all other Sastras, because though the Sastras have the same
common object there is no fear of ignorance here. The means are
many and the end not difficult of attainment by men whose senses are
sharpened to the highest degree. Advayavajra in his Sekanirnaya
accepts the Mahasukha theorv, dilates upon the various stages of the
Mahasukha which according to him is not possible of attainment with-
out the Sakti the embodiment of Karuna. :?
It is hardly necessary now to state that the Buddhism of the Lord
Buddha found entirely different expressions as time passed from century
to century, so much so, that even if Buddha is reborn, he will not be
able to recognize Vajrayana or the Buddhist Tantra as his own handi*
craft. Though the Buddha was antagonistic to all sorts of sacrifices,
sorcery, necromancy or magic, he nevertheless is credited by some later
authorities with having given instructions on Madras, Mandalas, Yoga
and Tantra, so that prosperity in this world could be attained by his
less advanced disciples who seemed to care more for this world than for
the Nirvana preached by him. * India in Buddha's time w^s such that
any religion which dared forbid all kinds of magical practices, could
hardly be popular. A clever organiser as the Buddha was, he did not
fail to notice the importance of incorporating magical practices in his
religion to make it popular from all points of view. The Tantras and
1. Adv. p. 14 2. Adv. p. 21 3. Adv. p. 28 4. Tattvasangraha of santaraksita
"Taduktamantrayogadiniyamad Vidhivat Krtat. Prajnarogyavibhutvadidrstadharmo-
pi jayote. Sloka 3487
10 INTRODUCTION
Mantras were all there in the time of the Buddha, but unfortunately, we
do not possess any connected account of them except a few works on
the Dharanis in which the Chinese were interested in the beginning of
the Christian era. These Dharanis are only unmeaning strings of words
which are said to confer great merit when mutterred repeatedly for a
number of times. Then comes the worship of Buddha in the Prajna-
paramita with all the paraphernalia of worship such as are found in the
Tantras. Then follow the different recensions of the Prajnaparamita, its
sutra, hrdayasutra, its Dharam and Mantra the recitation of all of
which confers the benefit of reading the whole of the Prajnaparamita
scripture. This is a very old work and was translated into Chinese in
the second century. A. D. The Manjusrimulakalpa appears to be a pro-
duct of the same period and is full of deities, mudras, mandalas
and Tantric practices, which became systematized in the Guhyasamaja
Tantra in circa 300 A. D.
The Buddhist Tantras belong undoubtedly to Mahayana although
it is quite possible to infer the presence of magical practices amongst
the followers of the early Buddhism. l The Tantras were a development
of the Yogacara which was inspired by the Sunyavada of the Madhya-
makas. Vajrayana marks a step in advance even of the Yogacara
thought.
The Mahayana in the opinion of the Vajrayanists is coextensive
with what they called Dharma which they considered as eternal and to
which was given a more important place in later Buddhism, than was
assigned to the Buddha himself. The Vajrayanists refer to Sunya in all
their writings, but this is not the Sunya of the Madhyamakas about
which neither existence nor non-existence nor a combination of the two
nor a negation of the two can be predicatedj To the Madhyamakas
both the subject and the object are Sunya in essence ; there is no
reality either of the mind or of the external world. Obviously, this is
a position which was not agreeable to the Vajrayanists because to them
a positive aspect in the Sunya is absolutely necessary. The Yogacara
or the Vijnanavada goes a little further and the view of Vijnanavada
as formulated by the school is that when emancipation is obtained it
does not become Sunya, but turn into eternal consciousness.
Vajrayana, on the other hand, 'is characterized as the 'Path which leads
to perfect enlightenment* or what they call in Sanskrit 'Ar&ttara Samyak
Sambodhi'. Vajrayana literally means the adamantine path or vehicle,
but its technical meaning is the 'Sunya Vehicle' where £unya is used in
a special sense to represent Vajra. It is said, —
L Bhattacharyya : Buddhist Esoterism, p. 24
INTRODUCTION 11
"Sunyata is designated as Vajra
because it is firm and sound, and
cannot be changed, cannot be pierced,
cannot be penetrated, cannot be burnt
and cannot be destroyed". *
The Mahayanists differ from the Hmayanists who are keen on
obtaining liberation for themselves by their own efforts. The
Mahayanists, on the other hand, do not care for their own salvation..
They are more solicitous about the deliverance of their fellow creatures/
than about their own. Their compassion for the sufferings of others
actuates them to renounce their comforts, merits and even their right
to salvation. The ideal of a Mahayanist finds expression in the
Karandavyuha where the ideal Bodhisattva Avalokitesvara is represented
as refusing his well earned Nirvana until all beings of the world were
in possession of the Bodhi knowledge and obtained freedom from
worldly miseries. -
This then may be considered to be the goal of every Bodhisattva,
which can be reached by following the tenets either of Sunyavada or of
Vijnanavada. The Madhyamaka theory postulated a transcendental
state but the Yogacara added the element of Vijriana 'consciousness'
to Sunya. The Bodhi mind is a chain of Vijnana which is changing
every moment, the Vijnana of the previous moment giving rise to
the Vijriana of the succeeding moment with the same memory the
same conformations and same qualities, and this process goes on till
Vijnana attains liberation.
Now, this is the sort of emancipation to which the Vijnanavadins
led their followers. In this Nirvana, as is already pointed out, there
are two elements, Sunya and Vijnana. The Vajrayana which is a direct
outcome of the Yogacara school introduced a new element or the
element of Mahasukha 'eternal bliss' to their conception of liberation.
The evolution of Buddhism became complete and found full expression
in Vajrayana.
Vajrayana introduced many innovations of a revolutionary character.
It introduced, for instance, the theory of the five Dhyani Buddhas as
embodiments of the five Skandhas or cosmic elements and formulated
the theory of the Kulas or families of the five Dhyani Buddhas from
which deities emerge according to need. It introduced the worship of
the Prajna or Sakti in Buddhism for the first time, and a host of other
things including a large number of gods and goddesses, their Sadhanas
1. Adv. p. 23 2. Karandavyuha, ed. Sama£rami, pp. 21-22
12 INTRODUCTION
for the purpose of visualisation, Mantras, Tantras, Yantras, Mudras,
Mandates, mystic realizations and psychic exercises of the most subtle
character.
It is not possible to trace the origin of Vajrayana without referring
to the Tibetan authorities and ancient Tantric authors Taranath is
reported to have said l that Tantrism existed from very early times and
was transmitted in a secret manner from the time of Asanga down to
the time of Dharmaklrti. Asanga who was a brother ofVasubandhu
(280-360 A, D.) must have flourished circa 300 A. D. and Dharmaklrti
who is not mentioned by the Chinese traveller Hiuen Thsang but is
referred to with great respect by I-Tsing very probably belonged to a
period between 625-675 A. D. Thus it can be seen that during a long
period of nearly three hundred years Tantrism was handed down from
Gurus to disciples in an occult manner, before its followers could be
numerically strong enough to preach their secret doctrines in public.
It seems, therefore, reasonable that the Mahasiddhas such as Saraha,
Nagarjuna, Luipa, Padmavajra, Anahgavajra, Indrabhuti and the rest
who were masters of Tantra and were great authors and magicians, were
the chief agents to boldly and publicly preach their doctrines and
exhort people to follow their tenets, doctrines and practices. Their
endeavours combined with their unique personal achievements must
have converted a considerable number of people to Vajrayana faith.
It is rather difficult to point out the source of information from
which Taranath drew his inspiration, but a perusal of such Tantric
works as the Guhyasiddhi of Padmavajra and the Jnanasiddhi of Indra-
bhuti makes it possible to infer that it was the Guhyasamaja which was
regarded as the most ancient and the most authoritative work of the
Tantra school. Padmavajra not only advocates the cause of Tantric
Buddhism but also gives a succinct digest of the work which he calls
Sri-Samaja or the 'Venerable Samaja' in his treatise which is still unpub-
lished. Indrabhuti in his Jnanasiddhi acknowledges the Guhyasamaja
as the work of highest authority, and gives a summary of some chap-
ters and the topics dealt with in this work. There is thus hardly any
doubt that the Guhyasamaja is the original Sahglti which introduced
for the first time the tenets of Vajrayana into Buddhism. It is believed
to have been introduced in an Assembly of the Faithful by Lord Buddha
who is here called Sarva-Tathagata-Kaya-Vak-Citta. The Guhyasamaja
is written in the form of a Sangiti and is considered highly authoritative
even now amongst the Vajrayanists, and is regarded as one of the Nine
Dharmas of Nepal. This is evidently the first work of Vajrayana, and
1. Kern: Manual of Buddhism, p. 133
INTRODUCTION 13
Asahga quite conceivably may have had something to do with it, as it is
commonly believed that the Tantras were introduced by Asahga after
being initiated by Maitreya the Coming Buddha in the mysteries of
Tantra in the Tusita heaven. l
It cannot be denied that in the very beginnings of Buddhism and even
when Mahayana sprang up in later times a very strict discipline was
enjoined on the followers of the faith. On the monks the rules were
very strictly put into operation. For instance, they must not have any-
thing to do with women, must not take any forbidden food. Wine,
flesh, fish, appetisers and such objects of enjoyment were specially
forbidden. The rules were indeed good and were very attractive in
the time of the Buddha. But it is wholly absurd to expect
obedience to such strict disciplinary measures from all members
of the Sahgha even in the Buddha's life-time, if not for centuries
after his disappearance. And after all, what will be the result ?
Freedom from births and rebirths was only a possibility, and success
at best was only questionable ! The members of the Sahgha must have
revolted from time to time against the unnatural rules of discipline
imposed on them, and party quarrels were already in evidence in
the Second Great Council when the Mahasahghikas were expelled
from the Orthodox church by the Sthaviras or Elders, because
the latter were unwilling to make any concession on the ten minor
points of discipline. Rebellion against the rules on broader and more
important matters of discipline must have been in existence amongst
the monks but they could not create a party of their own which could
sufficiently withstand the criticisms of the orthodox section which was
sure to go against them and denounce them as heretics. Those monks
who saw salvation only in leading a natural life went on devising plans
to modify their faith according to their light, probably by writing what
is called the original Tantras which were secretly handed down through
trusted disciples who could practice their secret rites without let or
hindrance. These Tantras are in the form of Sahgltis and are said to
have been delivered by the Buddha in an Assembly of the Faithful. It
is in this Sahgiti form that all new ideas were introduced into Buddhism
and the Sahgltis were very powerful agencies in the introduction of
innovations, because Buddhism will not be prepared to accept anything
as true unless spoken by the Buddha in a public assembly.
The orthodox followers of the faith were sure to challenge anything
that had not been sponsored by the Buddha, and that seems to be the
1* For further information refer to introduction to Guhyasamaja published in the
Qaekwad's Oriental Series, (GOS).
14 INTRODUCTION
reason of the great popularity of the Sahglti literature. The original
Tantras of Buddhism are written in the Safiglti form wherein are in-
culcated doctrines which are diametrically opposed to the original
teachings of the Buddha. Easy methods leading to happiness in this
world were held out in this literature, easy paths leading to salvation
were shown ; great parade was made of the merits accruing from the
repetitions of the Mantras, Dharams, panegyrics and worship of gods
and goddesses. But everywhere any casual reader can detect a desire on
the part of the authors to thwart all unnatural rules and regulations
imposed on the followers. These disciplinary regulations, as a conse-
quence gradually slackened down one after another, and ultimately
when the Vajrayanists gained in power the secret doctrines no longer
remained secret, but were openly preached and practised to the great
annoyance of the orthodoxy.
In order to increase the popularity of Vajrayana the followers inclu-
ded in it every conceivable tenets, dogmas, rites and practices that were
calculated to attract more adherents. Thus the leading tenets of
Mantrayana along with Mantras, Mandalas, Mudras, gods and god-
desses were included in Vajrayana. The earliest work of this class is
said to be the Vidyadharapitaka which has been characterised by Hiuen
Thsang as belonging to the canonical literature of the Mahasanghikas.
But this work is not available in original Sanskrit, and it is not possible
to say anything with regard to the contents of the text. But with regard
to another work the Manjusrimulakalpa the circumstances are different.
This extensive work is published in the Trivandrum Sanskrit Series in
three volumes. The text forms a part of the ancient Vaipulyasutras of
Mahayana and is decidedly the earliest work of Mantrayana at present
available. It is written in the Sangiti style in prose and in verse, and
in an archaic style closely resembling the Gatha style, and is written
throughout in what is called the Mixed Sanskrit. This work must
have been very popular even after the destruction of Buddhism in India
as will be evident from the fact that the book was copied only about
four hundred years back in a monastery of South India by Ravicandra
the head of the Mulaghosa Vihara. 1 The Manjusrimulakalpa deals
with the formulae and practices which lead both to meterial prosperity
and spiritual regeneration, and belongs to the early centuries A. D. but
decidedly after the time of the composition of the Amitayus Sutra
or the Sukhavati Vyuha which ushered in the conception of Amitabha
and Avalokitesvara for the first time in Mahayana. The Amitayus Sutra
was first translated into Chinese in a period between A. D. 148-170, and
hence the time of its composition may be fixed at about 100 A. D. 2
1. See introduction to the Manjulrlmulakalpa by the editor, Ganapati Shastri.
2. Sukhavativyuha, p p. 1, 28, 32
INTRODUCTION 15
The Manjusrimulakalpa in that case would only be about a hundred
years later than the Amitayus Sutra. If the Guhyasamaja is accepted as
the very first work of the Vajrayana school it must be admitted that
much time must have elapsed between the age of the Manjusrimulakalpa
and that of the Guhyasamaja which is put down in circa 300 A. D. l
The beginning of the Sangiti in the Manjusrimulakalpa is in the
orthodox style as opposed to the Tantric style which is decidedly later,
and where Bhagavan is introduced in the company of a large number
of women instead of an assembly of pious and devout Bodhisattvas only
as in the earlier Sahgltis. The doctrine of the five Dhyani Buddhas or
even their names, Mudras, Mantras, families, Saktis, colour and direc-
tion are all absent in the Manjusrimulakalpa. Moreover, the Mantras
and Mudras which were later systematized in the Vajrayana work of
Guhyasamaja are found scattered in the body of the text of the Manju*
srlmulakalpa in a disorganised manner. The Mantras of some of the
Dhyani Buddhas are indeed to be found in the Manjusrimulakalpa
although not exactly in the same meaning and form as in the later
Guhyasamaja. The Manjusrimulakalpa further apeaks of Mantrayana
but it does not refer to Vajrayana which is mentioned for the first time
in the Guhyasamaja the Tantra of Secret Communion. Under the
circumstances it is possible to call the Manjusrimulakalpa as one of the
earliest Mahayana Sutra works on which perhaps is based the outward
foundation of the Vajrayana system. Yet one who willread this work
carefully will not fail to notice that it is a product behind which there is
a history of development of several centuries. And probably, if ever
one can go to the root of Mantrayana one will have to voice the opinion
of £antaraksita and Kamalaslla that instruction on Tantras, Mudras and
Mandalas were delivered by the Buddha for the benefit of such followers
as would care more for their material prosperity than spiritual.
Vajrayana thus included in its purview all varieties of attractive tenets,
notions, dogmas, theories, rites and practices, and incorporated all that
was best in Buddhsim and probably in Hinduism also, and owing to
this circumstance Vajrayana attained great fame and popularity. It
satisfied everybody, the cultured and the uncultured, the pious and the
sinner, the lower and the higher ranks of the people and devotees.
Vajrayana catered to all tastes with equal efficiency, and it had some-
thing useful for everybody. Its universal popularity became an esta-
blished fact.
It is difficult to say from what exact locality Tantrism took its origin.
In the Sadhanamala are mentioned the four Pithas or sacred spots of the
1. See introduction to Quhyasamaja, where this date has been discussed.
16 INTRODUCTION
Vajrayanists, namely, Kamakhya, Sirihatta, Purnagiri and Uddiyana.
The Tibetan authorities are of opinion that the Tantric Buddhism origi-
nated from Uddiyana, The location of Uddiyana thus is important for
the history of the Buddhist Tantric literature.
Uddiyana is mentioned in the Sadhanamala rather frequently. The
earliest manuscript of the Sadhanamala is dated in the Newari Era 285
which is equivalent to A. D. 1165. In this work Uddiyana is connected
with the Sadhana of Kurukulla, Trailokyavasamkara, Marici and
Vajrayogim. The Sadhanamala also connects Uddiyana with such
Tantric authors as Saraha. The Jnanasiddhi of Indrabhuti is stated in
the last colophon as having started from Uddiyana (Odiyana).
Uddiyana being one of the four Pithas sacred to Vajrayogim should
be at least near Kamakhya (Kamarupa), and Sirihatta (Sylhet) in
Assam and it is not unusual to think that all these four Pithas received
their sanctity from temples dedicated to Vajrayogim. Thus Uddiyana
has to be located in Eastern and Assam area.
In the mediaeval period when Tantras flourished, Vanga and Sama-
tata were the two important centres of culture in Bengal. Vahga inclu-
ded the present Dacca, Faridpur and Backerganj districts, while Samatata
comprised the present Sylhet, Chittagong, Tipperah and Mymensingh
districts. That Vahga and Samatata were the two great centres of
culture in Bengal is borne out by the numerous Buddhist and Brahma-
nical images of the Tantric type discovered in the whole of this region.
Numerous old inscriptions, remains of old buildings, coins and terra-
cottas found in these regions, confirm the conclusion that from the
Vanga-Samatata area radiated different streams of culture to the rest of
Eastern India. l
In this Vahga'Samatata region one of the most important places is
the Pargana Vikrampur in the Dacca district. Anyone acquainted with
the ancient inscriptions of Bengal will be able to appreciate the import-
ance of Yikrampur which is sometimes mentioned as the seat from
which imperial charters were issued. There was a great Buddhist
monastery here in the reign of the Candras and the Senas. Atisa
Dlpahkara, famous in Tibetan history as a great scholar and master of
Tantric lore, is said to belong to the royal family of Vikrampur.
Vikrampur is recognized even to-day as one of the foremost places of
culture in East Bengal.
In this Pargana Vikrampur there is a fairly large and well-populated
village which is now known by the rather extraordinary name of
1. Bhattasali : IBBS, intro. p. xxviii.
INTRODUCTION 17
Vajrayogini. Round about this village numerous Vajrayana images have
been discovered, and among them may be noticed images of Jambhala,
Parnasaban, Vajrasattva and Tara. The term * Vajra' inVajrayogim is also
a familiar Buddhist word. Vajra is equivalent to Sunya. Vajrayogini
is a Buddhist deity which the Hindus borrowed in the form of Chhinna-
masta. Thus the name of the village appears to be unmistakably Bud-
dhist. The village must have derived its name from the temple of
Vajrayogini which was in existence in early times.
It has already been pointed out that the temples dedicated to Vajra-
yogini could only be expected at four places, Kamakhya, Sirihatta, Pur-
nagiri and Uddiyana. Out of these Kamakhya and Sirihatta (Sylhet)
still retain their original names. Purnagiri which signifies a hill is not
identified yet with certainty. But it is possible to spot the fourth place
which is connected with Vajrayogini. Thus it becomes evident that the
present village Vajrayogini was originally known as Uddiyana but as the
deity Vrjrayogim became more popular later, the original name gradually
disappeared giving place to the name of the deity. Tantrism of the
Buddhists therefore originated here in Uddiyana-Vajrayogim, and thence
was transmited to the rest of India. l
One of the chief topics dealt with in Vajrayana is the deity. These
deities are a product of psychic exercises of the most subtle character,
and are visualized by the worshipper in the course of intense meditation.
These psychic exercises are called the Sadhanas a collection of which
is published in the Sadhanamala already referred to. To appreciate
Buddhist iconography, therefore, a reference to the Sadhana process of
god-realisation is necessary. This process is described in the next
section.
3. The Psychic Process of Sadhana.
The Tahtrics of ancient India were formidable optimists. They
intuitively realised that though this universe is composed of matter and
spirit, it is the spirit which always dominates over matter, and is un-
doubtedly more powerful than the latter. There were several schools
of thought in ancient India which took it for granted that spirit was
supreme and that this spirit should be developed in order that power
may be gained. Amongst these schools the Yoga and Tantra were pre-
eminently the most influential and popular. The followers of these
schools, particularly the latter, wanted to achieve through spiritual or
psychic power everything that could be achieved in the material sphere.
To-day for quick travel the material world presents to us railways,
For further details, see the author's article, entitled The Home of Tantric Buddhism
in B. C. Law Commemmoration Volume, Vol. I.
3
18 INTRODUCTION
aeroplanes and steamers, but the Tantrics claimed that by spiritual
culture weight of the body can be so reduced that it can fly over space
to any distance within the shortest possible time. To-day for informa-
tion about kinsmen in distant lands people send letters, wires and
cables, but the Tantrics claim that by intense meditation alone they can
visualize what is happening in other parts of the world, either by a projec-
tion of the mind or by mentally travelling the distance in a few seconds.
For conversing with a friend at a long distance the material world pro-
vides telephones and wireless instruments but the Tantrics claim that
by psychic exercises they can hear anything from any distance, even the
voice of gods and other invisible beings in the firmament. When a man
suffers from disease the material world provides doctors, medicines,
injections and so forth, but to a Tantric these are unnecssary. By deve-
loping psychic resources of the mind he can cure by a mere glance, or
touch or by recitation of Mantras. These extraordinary powers of the
mind are called Siddhis.
Thus it can be seen that the Tantrics recognised long before the
present age that psychic culture is of the utmost importance in life, and
through these exercises anything that can be accomplished in the mate-
rial sphere can be achieved in the psychic sphere. This tendency even
in the present day is a dominating factor in Indian life, and no one
should wonder seeing people running after Sadhus and Sannyasins lea-
ving aside modern scientific men in many of their difficulties. Occasion-
ally, stories are told of miraculous powers of ascetics over the elements
of nature or of their power of curing diseases for which apparently no
recognised system of scientific medicine has discovered a cure. There
are many such Yogins even now in India moving about in jungles,
cities, caves and mountains, possessing wonderful and miraculous
powers.
The Tantrics who were the advocates of psychic culture, by persistent
efforts through mental exercises, used to obtain super-normal powers
which were known as Siddhis. Those who gained such Siddhis were
called Siddhas, and the process through which they obtained Siddhis
called Sadhana. In the Yogasutra which is recognised to be the earliest
work in Sanskrit on the subject of psychic exercises, enumerates eight
different Siddhis. Later works mention more and the Brahmavaivarta
Purana mentions thirty-four kinds of Siddhis including the eight already
mentioned in the Yogasutra.
The Siddhas or those who attain supernormal powers are consi-
dered to be of three distinct varieties, the Best, Middling and the Mild.
The first class magicians can fulfil all their desires by mere thought,
that is to say, as soon as a desire arises in his mind it is instantly fulfilled.
INTRODUCTION 19
The Middling variety of Siddhas is able to conquer death, commune
with gods, enter unperceived into dead bodies or homes of others,
move in the air, hear the gods talk, understand all terrestrial truths,
obtain conveyances and ornaments, and are able to bewitch people, per*
form miracles, remove diseases by glance or touch, extract poison,
obtain erudition in scriptures, renounce all worldly enjoyments, prac-
tise Yoga in all its subdivisions, show compassion to all beings and even
obtain omniscience. The Mild or the third class of Siddha obtains fame,
long life, conveyances, ornaments, familiarity with the king, popularity
with royal personages and people of influence and power, wealth and
prosperity, children and family.
The Siddhas of the first and second class were known as Mahasiddhas
'Great Magicians' and in India their number was recognized as eighty-
four. Most of these Mahasiddhas flourished during the Pala Period
of Indian history (8th to 12th centuries A.D.) and were famous because
of their uncanny and prodigious feats.
The Sadhana or the process prescribed for attaining the different
Siddhis forms the bulk of the Tantric literature of both the Buddhists
and the Hindus. Thousands of Sadhanas were written, both in prose
and in verse, in Sanskrit and thousands were translated into Tibetan
and are now preserved in the pages of the Tibetan Tangyur. Besides,
every Tantric manuscript, cart loads of which are even to*day to be
found in public and private collections, describes the Sadhanas through
which Siddhis are possible of attainment. The Buddhists had a special
literature called the Sadhanas and they were always written in Sanskrit
by many of the well known Tantric authors and the Mahasiddhas.
This literature is now almost lost in original Sanskrit, but fortunately
for us some collections of Sadhanas are still extant. These collections
were given the names of Sadhanamala and Sadhanasamuccaya, and a
critical edition of all available Sadhanas in these two collections is
already published in two volumes in the Qaekwad's Oriental Series as
Nos. 26 and 41. The publication of these Sadhanas has revealed a
number of hitherto unknown and important facts. The Sadhanas
revealed that the Buddhists were not lagging behind any other religion
in India in the matter of psychic culture as advocated in the Tantras.
Secondly, as these Sadhanas contain the description of a large number
of Buddhist deities it becomes possible to differentiate them from the
deities of the Hindu and Jain faiths, and to determine the purpose for
which they were made and what they stood for.
The Sadhanas being most important for the study of Buddhist
iconography it is necessary to give a general idea of the contents of
the S§dhana or the detailed process through which spiritual eminence
20 INTRODUCTION
or Siddhi is obtained. For this purpose a summarised translation of
an elaborate Sadhana in the Sadhanamala is given here. But before
proceeding to translate the Sadhana it may be emphasized that it is
a purely psychic process for the realisation and visualisation of the
deity with whom the worshipper is asked to identify himself. The
Sadhana in all cases is prescribed for the realisation of some god or
goddess according to a fixed procedure laid therein.
For describing the contents of the Sadhanas a specimen is here
selected which is published as Sadhana No. 98 in the Sadhanamala of
the printed edition, for the realisation of the goddess Tara, composed
by Sthavira Anupama Raksita who was a well-known Tantric author
and who flourished before 1165 and whose works, five in number, are
preserved in translation in the Tibetan Tangyur. The contents of
this Sadhana is given below.
"The worshipper after leaving the bed in the morning should wash
his feet and face and after purifying himself should go to a place which
is lonely, agreeable, besmeared with scents, strewn with fragrant flowers,
and then sit there in an easy pose. Then he should meditate on his
heart the orb of the moon which originates from the first syllable -A-
and on it think on the form of a beautiful blue lotus. On the filament
of the lotus he should meditate on another moon the yellow germ
syllable— Tarn— as destroying the darkness of ignorance, illuminating
innumerable worlds of the ten quarters, and bringing from the
firmament innumerable Buddhas and Bodhisattvas.
'Then after an elaborate worship of these great compassionate
Buddhas and Bodhisattvas with celestial flowers, incense, scents
garlands, unguents, powders, mendicant dress, umbrellas, flags, bells,
banners and the like, the worshipper should confess his sins with the
following words ; 'Whatever sinful deeds I have done, caused to be
done, or consented to be done, in this endless cycle of creation,
everything I confees'.
"Thereafter, meditating on the restraint of wrong deeds he should
give his assent to the meritorious deeds of others with the following
Mantra ; 'I assent to the virtuous deeds of the Sugatas, Pratyekas,
Sravakas, the Jinas and their sons the Bodhisattvas, and of the world
with all the gods beginning with Brahman'.
'Then he should take refuge in the Three Jewels with the Mantra ;
'I take refuge in the Buddha so long as the Bodhi essence subsists ; I
take refuge in the Dharma so long as the Bodhi essence subsists ; and
I take refuge in the Sangha so long as. the Bodhi essence subsists'.
'Thereafter the adherence to the path of the Tathagatas should be
made with the Mantra : 'By me shall be followed the path indicated
INTRODUCTION 21
by the Tanthagatas and naught else',
'Then a prayer should be uttered with the Mantra : The gods
and the Tathagatas instruct me with such incontrovertible advices on
law by which all beings may be freed from the bonds of the world
quickly*.
'Then he should meditate on the results of his meritorious deeds
with the words ; 'Whatever merit I have acquired by the seven kinds
of extraordinary worship like the confession of sins, etc. all that I
devote to gain at the end the final Sambodhi'.
" After having finished the seven kinds of extraordinary worship
the deities should be dismissed with the formula : -Om Ah Muh- or
with the following words : Thou movest now according to Thy will,
being besmeared with the sandal paste of Silas (conduct), wearing the
garments of the Dhyana (meditation) and strewn with the flowers of
the Bodhi (Enlightenment)'.
'Then the worshipper should meditate on the Four Brahmas, of
Friendship, Joyousness, Compassion and Indifference. Friendship is
the love that exists in all beings like the love towards the only son, or
like its fruition in their welfare and happiness.
"Compassion again is of what kind ? It is the desire to save all
beings from misery and from causes that lead to misery. The desire
that I shall even save the beings who are burnt in the great fire of
suffering from the three evils and have entered the prison of Samsara
is what is called Compassion. Or it is the desire to save all beings
suffering from the three evils from the sea of Samsara.
"Mudita or Joyousness is of the following nature. It is the desire
in all beings of the world for the attainment of Buddhahood which is
unlikely to materialize. Or it is the attraction in all beings towards the
virtues that * exist in the world and to the enjoyment of spiritual powers
arising out of them.
"What is Indifference or Upeksa ? It is the doing of great welfare
to all beings, good or bad, by overcoming adverse requests and obstacles.
Or it is the desire that comes of its own accord to do good to all beings
without the least craving for any return, love or hatred. Or it is the
indifference towards the eight human institutions of gain or loss, fame
or notoriety, praise or blame, pleasure or pain, and similar things.
'Thus meditating on the Four Brahmas the inherent purity of the
phenomenal world should be meditated upon. All phenomena are
indeed inherently pure, and therefore, the worshipper should think
himself to be pure by nature. This natural purity of all phenomena
should be established by the formula : Om svabhavasuddhah
sarvadharmah svabhavasuddho'ham — . If all phenomena are inherently
22 INTRODUCTION
pure, where then is the possibility of the cycle of existence ? Because
of its being covered up with such thought categories as the subject and
the object. The way of purging of this impurity is the meditation on
the good path By this it is made to disappear. Thus is established
the inherent purity of all phenomena.
" After meditating on the purity of the phenomenal existence the
Sunyata of all phenomena should be meditated upon. Here ounya
means this. He should conceive the entire universe with its mobile
and immobile creations as the clear manifestation of non-duality when
the mind is devoid of all the extensions of such thought categories as
the subject and the object. The Sunyata should be established by the
formula — Orh Sunyatajnanavajrasvabhavatmyako'ham — .
"Then as previously stated, the worshipper should meditate on his
heart the goddess Aryatara who originates from the yellow germ-syllable
— Tam — placed on the orb of the moon with the deer on its lap.
"The worshipper should meditate on goddess Aryatara as one-faced
and two-armed of deep green complexion, fully decked in all ornaments,
of youthful appearance, clad in celestial garments, holding on her
crown the miniature figure of the parental Dhyani Buddha Amogha*
siddhi. The deity should further be meditated upon as sitting in the
ardhaparyahka attitude and showing the gift-bestowing signal in the
right hand and carrying a full-blown lotus in the left hand.
"The goddess of this description should be meditated upon as long
as desired. Then the eternally accomplished Bhagavatl should be drawn
out from within by the spreading rays that illumine the three worlds,
the rays that issue forth from the yellow germ syllable — Tam— placed
on the orb of the spotted moon which is enclosed within the filament
of a beautiful blue lotus. After thus discovering her, she should be
placed on the firmament and should be worshipped with the offerings of
scented water and fragrant flowers contained in the vessel inlaid with
gems at the feet of the goddess. She should also be worshipped with
various rites, external and internal, by means of flowers, incense, light
stick, food offerings, scents, garlands, unguents, powders, mendicant
dress, umbrella, flags, bell, banner and the like. Thus after repeatedly
worshipping her and offering her panegyrics, the Mudra or the mystic
signal should be exhibited. The palms of the hands, should be joined
together with the two middle fingers stretched in the form of a needle.
The two first fingers should be slightly bent their tips touching the
third phalanges of the first fingers. The two third fingers should be
concealed within the palm, and the two little fingers should be stret-
ched. This is called the Utpala Mudra or the signal of the night
lotus*
INTRODUCTION 23
"With this Mudra the goddess of the essence of Knowledge in the
front should be propitiated, and then she should be commingled with
the goddess of the essence of Time within, and by so doing the non-
duality of the two should be meditated upon. Then the rays issuing
forth from the yellow germ syllable — Tarn— placed on the spotless
moon will appear to him as illumining the ten quarters, as causing the
removal of the poverty and misery of all beings by showers of various
gems and as satisfying them by the nectar of advice on the nature of
Sunya.
"Engaging himself in doing good to the world, the worshipper
should meditate on the form of goddess Tara which is identified with
the universe. Further, he should meditate repeatedly until tired on the
yellow germ syllable and the Bhagavati contained therein, He who
is unable to meditate thus should mutter the Mantra which in this case
is — Om Tare Tuttare Ture Svaha — . This is the lord of all Mantras,
is endowed with great powers, and is saluted, worshipped and revered
by all Tathagatas.
"After having finished his meditation on the form of Tara he should
think the world as identical withe th goddess and should move about
thinking his own form as that of the goddess. Generally speaking,
those who meditate on the Bhagavati in this manner, all the eight
supernormal powers fall at their feet, and other small powers come to
him as a matter of course. Whoever meditates on the Bhagavati in
the lonely caves of mountains espies her with his own eyes. The
Bhagavati herself gives him his breath, nay more, even the Buddhahood
which is most difficult to attain comes to him like a plum on the palm
of his hand."
The above is a summary of the contents of a Sadhana devoted to
a single goddess, Tara, and there are hundreds of such Sadhanas for
other gods and goddesses. But the important point to be noted
in this connection is that the gods have no independent and real
existence apart from the mind of the worshipper and the manner of
worship. The deities possess no external form, but represent purely
mental conceptions of the Sadhaka who by means of the Sadhana
undergoes a detailed mental exercise for the development of his
spiritual or psychic powers.
The discussion in this section leads to a consideration of godhead
in Tantrism in order that the deities treated in this work may be
studied in their true perspective,
24 INTRODUCTION
4. Godhead in Buddhism.
I There is a great deal of confusion regarding the true nature of the
deity whether it is of the Hindu or Buddhist conception. The general
belief is that the deity is nothing more than an idol, and therefore, not
worthy of any attention. The deities are connected, as all students of
Tantra know, with Sadhana and Siddhi, and the conception of godhead
therefore is an essentially spiritual or psychic matter. {.
The Sadhana is concerned with the process for worshipping a parti"
cular deity as has been made abundantly clear in the previous section.
This consists in meditation in a quiet place and there practise Yoga till
a state similar to deep sleep is brought about. In this state of deep
sleep the ascetic communes with the Infinite Spirit or the inexhaustible
store-house of energy, which is supposed to be the highest creative prin-
ciple behind the world structure. By this communion the ascetic draws
forth energy from that inexhaustible store-house and becomes powerful
himself. This process of the realisation of the Infinite Spirit is what is
called Sadhana. The deity is part of this psychic process.
The Tantras are, in fact, sciences dealing with psychic matters, and
give directions for a variety of psychic exercises. It therefore stands lo
reason that the Tantra is a science or a Vidya requiring competent pre-
ceptors and efficient disciples. Like all other sciences the Tantra is
not also open to all and the sundry, but only for those who are initiated
into the mysteries of the science, and are competent to follow the pres-
cribed practices with patience and zeal. These are the right type of
disciples for Tantric practices, and may be called the Adhikarins or
rightful persons. In many Tantric works long chapters are devoted
to the qualifications of the preceptors *and disciples and there are also
rules for their respective competence to give or receive initiation.
The Adhikarin must have a certain equipment before he proceeds
to receive his initiation in the Tantra from a preceptor. And, in fact,
as the Tantra path is an exceedingly difficult path, the disciple is required
to have a great deal more equipment than is necessary for persuing any
other Vidya known to ancient India. First of all, the neophyte must be
patient, enduring, devoted and sincere, and he must serve his preceptor
with whole-hearted devotion. But the most important equipment nece-
ssary for him is that he should be proficient in the art of Yoga and
Hathayoga without which it is not possible to proceed with any Sadhana
worth the name or with any difficult Tantric practice. The process of
the visualisation of the deity requires intensive training as the following
account will show.
The difficult psychic process is described in detail and in an elaborate
form in the Guhyasamaja which may be called the Bible of the Tantric
INTRODUCTION 25
Buddhists. A perusal of the book makes it clear that when the Bodhicitta
or the Will to Enlightenment mingles with Sunya or the Infinite Spirit
in the highest state of meditation the mind-sky is filled with innumerable
visions and scenes, until at la?t, like sparks the individual visualises
letters or germ syllables, which gradually assume the shape of deities,
first indistinct, then changing into perfect, glorious and living forms, the
embodiment of the Infinite Sunya. They appear in bright, effulgent,
gorgeous and divine beauty in form, ornaments and dress. Violent
deities in like manner appear before him in the most violent form con-
ceivable, in an awe-inspiring manner with dishevelled hair, blood-shot
eyes, bare fangs, decked in ornaments of human skulls, severed heads
and human bones, with frightful weapons and dress. These beings
both benefic and malefic, are known as deities, and once realised they
never leave the ascetic but become instrumental in bestowing on the
ascetic more and more spiritual and psychic powers.
I The process of the evolution of the deity is described in Tantric
works, where clear-cut statements are made on the origin of the deities
and their gradual evolution from the germ syllable. In the Advayavajra-
sahgraha, for instance, it is said : f
f "The form of the deity is an explosion of the Sunya. It is by nature
non-existent. Whenever there is an explosion it must be Sunya in
essence."1 I
| In another place in the same book it is declared : /
I" From the right perception of Sunyata proceeds the germ-syllable ;
from the germ-syllable proceeds the conception of an icon, and from
the icon its external representations. The whole process therefore is
one of dependent origination."-' j
The equipment necessary for persons competent to worship and
realize deities, and the nature of the evolution of the deities have already
been indicated. Now it is necessary to state the views of the Guhyas-
amaja regarding the principles of god-realisation, and the various expe-
riences through which the Sadhaka has to pass before the deity is
realised and visualised. The Guhyasamaja3 calls this process Upaya
(means) which is recognised as of four kinds, Seva, Upasadhana, Sadha-
na and Mahasadhana. Seva (worship) is again sub-divided into two,
namely, Samanya (ordinary) and Uttama (excellent). Of these two, the
Samanya Seva consists of four Vajras : first, the conception of Sunyata ;
second, its transformation into the germ-syllable ; third, its evolution
1. ADV. p. 50, lines 7, 8.
r 2. ADV. p. 51, lines, 6, 7.
3, Guhyasamaja, chapter, 18, pp. 162, 163.
4
26 INTRODUCTION
in the form of a deity, and the fourth, the external representation of the
deity.
In the UttamaSeva (excellent worship) Yoga with its six limbs should
be employed. These six limbs are : Pratyahara, Dhyana, Pranayama,
Dharana, Anusmrti and Samadhi.. Pratyahara (control) is here descri-
bed as the process by which the ten sense-organs are controlled. Dhyana
(meditation) is explained as the conception of the five desired objects
through the five Dhyani Buddhas, namely, Vairocana, Ratnasambhava,
Amitabha, Amoghasiddhi and Aksobhya. This Dhyana is again sub-
divided into five kinds : Vitarka (cogitation), Vicara (thinking), Priti
(pleasure), Sukha (happiness), and Ekagrata (concentration).
Pranayama (breath control) is the control of the breathing process
by which breath which is of the nature of the five Bhutas (elements) and
the five kinds of knowledge, and is like a bright gem, is drawn from
inside and placed as a lamp at the tip of the nose and is meditated upon.
Dharana (meditation) is the meditation of one's own Mantra on the
heart, and the placing of it on the Pranabindu (heart centre) after
restraining the jewel of sense-organs. When this is done Nimittas
(signs) make their appearance. These signs are of five kinds and appear
in succession. The first is the sign of the Maricika (mirage), the second
is that of smoke, the third is of fire-flies, the fourth is of light, and the
fifth of constant light like a cloudless sky.
Anusmrti (memory) is the constant meditation of the object for
which the psychic exercise is undertaken, and by this Pratibhasa (revela-
tion) takes place. After commingling the two elements Prajna (know-
ledge) and Upaya (means) the whole objective world should be concei-
ved as contracted in the form of a lump, and this should be meditated
upon in the Bimba (icon-circle). By this process the transcendental
knowledge is suddenly realised by the worshipper and is known as
Samadhi (visualisation).
For the purpose of visualisation it is necessary that the process should
be continued for six months and this is done according to the Guhyas-
amaja always while enjoying all kinds of desired objects If within six
months the deity does not show herself the process should be repeated
thrice while following the rules of restraint duly prescribed. If the deity
is not visualised even after this, it should be forced by the practice of
Hathayoga. By this Yoga the ascetic most certainly attains the know-
ledge of the deity.
The above incidentally shows what part is played by Rajayoga and
Hathayoga in the process for the realisation of the deity. It shows also
that the Tantra begins where Yoga ends. Therefore, the worshippers
of the deity must first be adepts in Yoga before they make an attempt
INTRODUCTION 27
to follow the more advanced science of the Tantra which obviously,
is not meant for ordinary people. The conception of godhead in
Buddhist as well as in the Hindu Tantra is thus philosophically
most profound.
The individual soul is variously called the Bodhisattva ( Bodhi
Essence), Bodhicitta (Will to Enlightenment), Jivatman (individual soul)
while the Infinite or the Universal soul is variously known as Sunya
Brahma and Paramatman. When they combine in the state of the
highest meditation and concentration, an artificial condition akin to
deep sleep is brought about, and the deity appears in the mind sky in
flashes and sparks. The nature of the Jivatman being finite, it is not
possible to realise the Infinite in its entirety, that is to say, the result of
the mystic experience of the Jivatman also remains finite. And as the
object for which the worshipper sits in meditation is different in differ-
ent cases the deity visualised also becomes different. It is the Bhavana
(desire) of the worshipper which is of the nature of a psychic force
that reacts on the Infinite Energy, giving rise to different manifestations
according to the nature of the reaction. The nature of this reaction is of
illimitable variety and thus the resultant deity also appears in an infinite
variety of forms, and this seems to be the chief reason why we find gods
and goddesses of different forms in the pantheons of both the Buddhists
and the Hindus. The ascetic who visualises a particular deity, generally
makes it a rule to record the process by which the visualisation of a
particular deity took place, for the benefit of his disciples in order that
the latter may realise the deity in the easiest and most efficient manner.
The Infinite Energy is frilnva in Vajrayana^jmd this Sunya is invoked
by the worshippers of different classes with different desires and differ^
ent degrees otjnental development. As Sunya isinvoked in for thou-
sandandjane purposes, it manifests itself in thousand and jane^jwayj^
in thousand and onejorms, and it is precisely in this manner that the
numbeFof deitiesin the Buddhist pantheon increased to an enormous
extentT^TKe psychic exercise prescribed in the case of different deities
is different in the Sadhanas. The Sadhanas become less or more difficult
according to the mental capacity of the worshippers, who are generally
classified as High, Middling or Low. The regulation of life in the case
of the worshippers of different classes become more or less stringent
according to the degree of psychic progress.
In the realisation of the deity, there are thus three elements, the
worshipper, the deity and their connecd9D_Q£_Jsientity. These are
fiamed ifr~Tfi5~TanirIc works as the Bodhicitta, the Mantrapurusa
(Mantra body) and the Ahamkara (identity). The worshipper is called
the Bodhisattva (Bodhi essence), and , his mind is known as the Bodhi*
28 INTRODUCTION
citta (Will to Enlightenment). The deity is the embodiment of the
cluster of letters contained in a Mantra which are dynamized by exces-
sive concentration and repetition. The sacred words or letters set up
strong vibrations and ultimately condense themselves in the form of
deities and this is called the Mantrapurusa (Mantra body) or Mantra
person. But before the Mantra person is visualised there must always
be a complete identity between the Bodhiciita and the Mantrapurusa.
The subject is both interesting and important for the study of gods and
goddesses, and therefore merits a detailed treatment.
The Vajrayana conception of the Bodhi mind appears to be the same
as advocated in Yogacara, an idea of which can be gained by a reference
to the Tattvasahgraha of Santaraksita. The Bodhi mind is like a conti-
nuous stream of consciousness which changes every moment^ the
consciousness of the previous moment giving rise to or causing the
consciousness of the succeeding moment. The chain of momentary
consciousness which is without a beginning or an end, operating in
unison with the all powerful act-force leads it either to degradation or
to emancipation according as the actions done are good or bad. The
Bodhi mind is by nature surcharged with impurities such as desire,
memory, existence, non-existence, subject, object and the rest which
are all unreal. To purify this chain of consciousness is the sole aim of
the Bodhisattva, but so long as impurities are not removed, it will be
subject to a series of transmigrations either in the world of gods or men,
or of animals, birds, ghosts and demons.
According as the impurities are removed one after another, the
Bodhi mind commences an upward march in the different spiritual
spheres, called Bhumis, and stays in them only so long as it is not
qualified to ascend to a higher sphere. The number of Bhumis are
recognized generally as ten and the Sutra which describes them is called
the Dasabhumika Sutra. The Bodhi mind obtains emancipation, or in
other words when it crosses the ten Bhumis mentioned above, it is
rewarded with moniscience. These Bhumis are not meant for the
Hinayanists but were exclusively designed for the Mahayanists who are
the real Bodhisattvas. No Buddhist will be called a Bodhisattva who
has no compassion for suffering humanity or who will not be prepared
to sacrifice his all for the benefit of others, The Vajrayanist concep-
tion is the same, and it defines Bodhi mind as one where Sunya and
Karuna (compassion) work in unison. In the eye of a Vajrayanist the
external world has much the same significance as it appears in Yogacara.
The Tantras characterize the external world with its movable and
immovable objects like a pot, picture, carriage, house, stone-house,
mountains and the rest as reduced by reason to mere appearances, in
INTRODUCTION 29
the same way as magic and dream are considered to be appearances.
Therefore, the Vajrayanists hold that external objects have no greater
reality than magic, mirage, shadow or dream, and their reality cannot
be proved by reason.
The Mantras or mystic syllables constitute the backbone of
Vajrayana worship, and are of illimitable varieties. The Mantras are
mostly unmeaning words but they sometimes reveal the influence of
some unknown language. The Vajrayanists maintain that the Mantras
are endowed with great powers. "What is there impossible" they say,
"For the Mantras to perform if they are applied according to rules ?"
It is also said that through repeated mutterings of the MantrdS such
power is generated that it can astonish the whole world. The Mantra
has power even to confer Buddhahood or omniscience. The merits
that accrue from the repetitions of the Mantra of Mahakala are so
numerous that all the Buddhas taken together cannot count them even
if they were to count without celadon for a number of days and
nights. By the DharanI of Avalokitesvara even an ass can memorize
three hundred verses. The Mantra of Ekajata is said tQ be so powerful
that the moment it is uttered a man becomes free from danger, he is
always followed by good iortune and his enemies are all destroyed.
The repetition of the rnantra is however to be done with the greatest
care, for instance, it should not be muttered too quickly nor too
slowly. The mind at the time of repetition should be concentrated
on the letters of the Mantra and should be free from all evil thoughts,
and the mantra should not be repeated when the mind is fatigued
or tired.
Thus it can be seen that the Vajrayanists believed that the Mantras
were endowed with dynamic power. Their power consisted in the
arrangement of the syllables, the purity of which is to be guarded with
the greatest care. The Mantra is required to be received with proper
ceremonies from a competent preceptor. The Mantra is powerful
when it comes from a preceptor who is pure, and has repeated conti-
nuously so as to visualize the Mantra person or the deity sacred to the
Mantra. The letters of the Mantra can only be dynamized by conti-
nual repetition by day and at night until the deity is visualized. When
the Mantra becomes powerful the vibrations let loose by the Bodhi
mind react on the universal Sunya which explodes in consequence in
the divine form of the deity and appears before his mind sky. Accor*
ding as the calling signal is different in different cases the deity becomes
different, and thus its number increases. The deities are nothing but
the forms created by the force of word or letter vibrations, and by
continuous practice anyone can visualise the deity. The Mantra idea
30 INTRODUCTION
is not only logically correct but also philosophically profound.
The relation between the caller and the calling deity is one of identi-
fication. It is called Ahamkara or the identity of the Bodhi mind with
the deity, the manifestation of Sunya or the ultimate reality, The
identity is established with the Mantra "I am the goddess and the
goddess is in me". The worshipper should conceive himself as the deity
with the same complexion, form and limbs as described in the Sadhana
and should, instead of worshipping any external object, worship himself.
The Bodhi mind and the deity apparently signify duality but their
| duality disappears with enlightenment. The Bodhi mind is of the
nature of Sunya and the deity is a manifestation of Sunya and, therefore,
both have the same origin. But to realise that the two are the same
requires perfect knowledge. Continuous meditation and austerities
enable the worshipper to shed the veil of ignorance which makes
one thing appear as two. The Bodhi mind is further called Karuna
(compassion) and the ultimate reality as Sunyata, and when the two
commingle, it is called Advaya or non-duality. As copper leaves its
dirty colour (and become gold) when it comes in contact with the
magic tincture (of alchemy), even so, the body leaves off its attachment,
hatred, etc. when it comes in contact with the tincture of Advaya. This
Advaya is a form of cognition where the Bodhi mind commingles with
Sunya and becomes one with it. To symbolize this principle Vajrayana
brought in the conception of the Yab-yum form of deities in which the
deity appears locked in close embrace with his Sakti or the female coun-
terpart. When the deity is single, it means that the female counterpart
has merged into the deity even as salt melts in water. The deity is
•Sunya and the female principle is the Bodhi mind, or the first is the
ultimate reality and the female is Karuna (compassion). The Bodhi
mind can become ultimate reality through the one principle of Karuna.
This Karuna is symbolized in the form of Avalokitesvara, the great com-
passionate Bodhisattva who sacrificed his Nirvana in order to serve his
fellowmen.
From the foregoing even a casual observer" can find that theVajrayan-
ists formulated the principle that behind the creation there is arTinSomj-
tablewill which multiplies in the formof words and gradually con-
densethemselves in the form of the_dejtj^ The iemale counterpart is
a further grossenirig process.* T&JSLJS the creative process, grossening
process andAe process of evolution.) This process can only be stopped
by the princijpIeTof Karuna Tcompassion) which gradually leads the
Bodhi mind to soar higher and higher, and to become finer and thinner
before it merges in £unya. According jo Vajrayana, therefore, the
INTRODUCTION 31
reverse process of involution starts only when the Bodhi mind is sur*
charged with Karuna or compassion.
5. The Pantheon.
The word Pantheon is derived from pan — all, and theos— god and
therefore, concerns itself with all gods belonging to a community follow-
ing the same religion. In Hinayana or Primitive Buddhism there was
no pantheon to which worship was offered by any Buddhist. But in
Mahay an a a large number of deities was included and later, in its more
advanced form of Vajrayana this pantheon became surprisingly large
with deities of every description. \ Virtually, there was an epedemic of
deification in which every philosophical dogma, ritualistic literature, abs^
tract ideas, human qualities, even desires such as sleeping, yawning, and
sneezing were deified or given a deity form.
The varied, extensive, and diversified pantheon of the Northern
Buddhists owes its origin to Tantric Buddhism or Vajrayana. There
are certain indications that Buddhism had no pantheon before Tantrism
was well established. In very early days Buddhism recognised thirty-
three gods of the Hindus who were the residents of the Trayastrimsa
Heaven which is one of the Rupa heavens. Buddha did not believe in
gods or worship, and in the Saundarananda Kavya of Asvaghosa we
find Buddha discouraging his half-brother Nanda to touch his feet in
token of worship. He told Nanda that he would not be in the least
pleased by Nanda's taking the dust of his feet, but he would bless him if
he would follow the precepts of true Saddharma. Buddha was deified
in Mahayana which considered him to be Lokottara or superhuman. } In
Buddnist art also Jbfruddha images are not met with in the earlier schools
such as J3anchi and Bharhut, and it is believed that the Graeco-Buddhists
of Gandhara were the first to carve out his image in stone.\ This is the
view held by the celebrate3 French archaeologist Professor A. Foucher. 2
In Bharhut and Sanchi scenes connected with the life of the Buddha,
such as the dream of his mother Mayadev! (fig. 1), and the symbols of
Buddha like the Bodhi Tree, his head-dress his foot-prints (figs, 2, 3,4, 5),
and the rest used to be freely represented, but his actual likeness was
regarded as too scared to admit of representation. Dr. Coomaraswamy
on the other hand has shown that the Mathura school of sculpture can
have an equally strong claim to antiquity and probably for carving out
the first image of Buddha. These are great authorities and it is not
possible here to examine their theories in detail. For the present work
it is immaterial whether the claim for carving out the first image of
1. Kern ; Manual of Buddhism, p. 3
2. Beginnings of Buddhist Art, p. 127.
32 INTRODUCTION
Buddha is established in favour ofjsither Gandhara QjlMathura. It is
enough to know that there are many images of Buddha in these two
schools of art.
Besides the sacred symbols connected with Buddha's life and
teachings, worship was offered by the Buddhists to numerous other
objects. One of the most important among these objects is the Stupa
which is regarded as the embodiment of the Buddhis^lJmv^ with
all the heavens as conceived in Buddhism The stupas received worship
even in the life-time of theBy^Ih^^and continued throughout the
centuries after his Mahaparinirvana J Such stupas are found in abun-
dance in the Buddhist countries, and a few celebrated stupas in Nepal
are illustrated here in (Figs. 6, 7, 8) They are the Stupas of the
Svayambhunatha (twlgo-Simbhu), the Bodhnath and Kathe Simbhu.
Besides the Stupas, the Three Jewels of Buddhism, known by the names
of the Rutjflha, Dharma and Sangha were conceived in the form of
deities a ri (Twors hip wa s" freely offered to them by the Buddhists in both
symbolic and human forms The images of the Holy Triad as obtained
in Nepal are here illustrated. (Figs. 9, 10, 11). Out of the three,
one Dharma is a goddess.
Later, a number of gods and goddesses are described in the
Manjusrimulakalpa which is believed to be an earlier work than the
Guhyasamaja which is dated circa A. D, 300 ] Again in the Prajna-
paramita Buddha is worshipped elaborately with diverse paraphernalia
of worship. But even then it does not seem clear that Buddhism at
this time had any conception of a well-defined and well-classified
pantheon. It is in the Guhvasamaja that the idea of a pantheon,
rationally classified, is properly and systematically crystallised. _JHej£e
for the first time are found the descriptions of the five Dhyani Buddhas,
tngi£_ rnantras, their Mandalas^ and their baktis or remale^gjnitprparti
These Dhyani Buddhas represent the five Skandhas or the five cosmic
elements of which the world is composed. They are here described
as the progenitors of the five Kulas or families of gods and goddesses.
The families owe allegiance to their progenitors who are known as
Kulesas or Lords of Families. In the Guhyasamaja it is said :
"The five Kulas (families) are the Dvesa (hatred), Moha (delusion),
Raga (attachment), Cintamani (Wishing Gem), and Samaya, (convention)
which conduce to the attainment of all desires and emancipation." -
The emanations or offsprings of these Dhyani Buddhas constitute
their families. It is in this way that the Buddhists built a well-classified
pantheon with its multiplicity of gods and goddesses, and when these
1. See the discussion on the subject in Guhyasamaja, intro. p. XXXVI— XXXVII.
2. Guhyasamaja : p. 6.
Fig. 1 Maya's Dream.
( RJi^rhryf \
SYMBOL-WORSHIP
Fig. 2 Bodhi Tree.
( Amaravati )
34 INTRODUCTION
were represented in art, they were required to show their origin by
holding on their heads the miniature figure of their parental Dhyani
Buddha. Every deity almost without exception was given various
forms with two, four, six, eight, ten, twelve, sixteen and even more
hands, and proportionately one head to three, four, six, and eight
heads. They were given different colours, different expressions and
different companions according as they were worshipped in the differ*
ent Tantric rites and according as they were required to discharge
different functions, from curing a disease to the killing of an enemy.
The artists had a considerable hand in executing the images and they
introduced their own traditions, provincialisms and innovations The
votaries also according as they wanted to have their gods in a powerful
form, added extra hands , heads and feet to suit their own ideas
and whims, and it is precisely in this way that the deities increased to an
amazing number.
The Guhyasamaja or the Tantra of Secret Communion which is
perhaps the first book inculcating Vajrayana philosophy of Mahasukha
is a product of circa 300'A.D. which is the time of Asanga. Quite
naturally the Tantra could not get publicity as the public mind was not
prepared to receive the revolutionary innovations introduced in it.
Thus thf Tonfra wj*nt into private hands and was handed down through
an unbroken cbnin r>f Hums ^nrl disciples for thr^ hnndtw] ypQrg 1>r>
the most secret manner possible. It obtained publicity through the
teachings and mystic songs of the Buddhist Vajracaryyas or Siddhas in
about the middle of the 7th century. It is for this reason that
references to the pantheon in the general Buddhistic literature are not
n^T"wi^ nor the accounts of the
Chinese travellers show much acquaintance with the pantheon, when
they came to India to investigate the condition of Buddhism in India,
Despite this certain names of Buddhist gods and goddesses are indeed
met with in their writings, though they do not pertain to the well
classified pantheon referred to above. In the SukhayatT Vynhfl \yjrfch
was translated into Chinese between A. D. 148*170 the name of
Amitabha appears for the first time as the presiding deity of the
Sukhavati or thc_Akanistha heaven where he is believed to have brought
forth Avalokitesyara into existence.* It should be remembered that
in fKe Vajrayana works also this heaven has been characterized as
the abode of all gods and goddesses. In the smaller recension of the
Sukhavati Vyuha which was translated into Chinese between A. D.
417 mention is made of two more gods namely Aksobhya as a
Sukhavati Vyuha, pp. 1, 28, 32.
INTRODUCTION 35
Tathagatajand ManjusrL_as a^Bodhisattva^ Fa-Hien (A. D. 394-414)
mentions the names of MaSjusrT; Avalokteesvara, and the future
Buddha Maitreya, while Yuan Cbwang (629-645 A. D.) refers to the
names of Avalokitesvara, Harlti, Ksitigarbha, Maitreya, Manjusn,
Padmapani, Vaisravana, Sakya Buddha, £akya Bodhisattva, and Yama
together with such deified saints as Asvaghosa, Nagarjuna, Asahga,
Sumedhas and others. I-Tsing (671-695 A.D.) mentions the names of
Avalokitesvara, Amitayus, Hariti, the Catur-Mahafajikas, Maitreya,
Manjusri and Yama besides several others. Santideva (695-730 A.D.)
in his oiksasamuccaya mentions the names of Aksobhya as a Tathagata,
Gaganaganja as a Bodhisattva, Simhavikridita as a Tathagata, Cunda,
Trisamayaraja, Marici, Simhanada, Manjughosa and many others. ]
After Santideva the Tantra of the Buddhists got wide publicity, and
the Tantric works written after his time all referred to the pantheon
and described numerous gods, especially the Dhyani Buddhas a definite
product of Tantric Buddhism. The Sadhana literatuie which describes
the forms of gods and goddesses and lays down the procedure for
worshipping them was developed by the Mahasiddhas or great magi-
cians like Saraha, Nagarjuna, Sabaripa, Anahgavajra, Indrabhuti and
others, although it is very probable that the earliest Sadhana was
composed by Asanga who flourished in circa 300 A.D. In the Sadhana
attributed to Asanga the Dhyani Buddhas and their emanations are
referred to.
When a reference is made to the numerous images executed in the
different schools of art it also becomes palpable that the Buddhist
pantheon was not well developed before the Tantras got wide publicity
injiboutjthe middle of the 7th century AT)i InTKe Gandhara school,
for instance, Jbesides the Buddha images, there are images of Jambhala
Kubera, Indra, Maitreya, Haritl and several unidentified Bodhisattva
images. In the Mathura school which was either contemporaneous
or somewhat later than the Gandhara school there are numerous
Buddha and Bodhisattva images along with those of Kubera, the Yaksas
and Nagas. The Mathura school extended to the early Gupta period2
and here also later Buddhist images of Tantric flavour are not met
with. Not even the images of Avalokitesvara, Manjusri are to be
found in this school. The case of the later Magadha school however,
is otherwise. The Magadha school included the images found in
Sarnath, Nalanda, Odantapuri, Kurkihar, Gaya and other ancient
sites in Bihar. The most flourishing period of the Magadha school
1. Bendall's introduction to Siksaasmuccaya, p. V.
2. Vogel : The Mathura School of Sculpture in A.S I. Annual Report, 1906-7, p. 145.
36
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38 INTRODUCTION
was contemporaneous with the reign of the Pala kings of Bengal and
lasted till the Muhammadan ^conquest of Bihar and Bengal in the
beginning of the thirteenth century A. D. In the Magadha school aj£
to be found a ^definite evidence of the existence of a well classified
pantKeoirTas conceive3"lrrVajrayana Buddhism. In most of the images
there are figures of five Dhyani Buddhas on the halo round the head
of the principal deity, as also others with miniature figures of Dhyani
Buddhas on the crown to indicate the origin of the deity installed.
Again, unlike the Mathura and Gandhara schools there is a distinct
dearth of Buddha images in later schools of art, and even when he is
represented, he takes the semi-mythical form of Vajrasana being
flanked by Avalokitesvara and Maitreya on two sides. In the Magadha
school therefore Buddha lost his original importance and became
similar to the Dhyani Buddha Aksobhya as is evident from the
numerous Sadhanas dedicated to the worship of Vajrasana Buddha
with the earth touching signal. The Bodhisattva images are also not
so stereotyped as they are found either in Gandhara or in Mathura.
The Magadha school is characterised by its wide variety of images of
gods and goddesses and this will be apparent to any visitor who visits
the museums at Sarnath, Nalanda, Patna, or even at Calcutta, and
takes a round in the extensive ruins of the Odantapuri Vihara (Modern
Bihar) on the Bakhtiyarpur Bihar Light Railway. The same is the
case with the ruins of Gaya, Kurkihar, Sahet-Mahet and Kasia. At
Sarnath, the contents of the museum are rich with such interesting
and symbolic images as Sadaksari Lokesvara, Ucchusma Jambhala,
Manjusri, Tara, Vasudhara, Marlci, all the Five Dhyani Buddhas,
Vajrasattva the sixth Dhyani Buddha and numerous others belonging
to the Vajrayana pantheon. Nalanda images are enriched with the
same deities as are found in Sarnath.
The Bengal school which is contemporaneous with the Magadha
school is distinguished by the high class of art it developed and for its
beauty of execution. Its flourishing period ranged from the 10th century
till the conquest of Bengal by the Muhammadans. Many of the
specimens of the Bengal school are preserved in the museums at
Calcutta, Dacca, Rajshahi, and the Vangiya Sahitya Parishad, and a
large number of them are scattered about in the Pargana Vikrampur
and in the districts of Dinajpur, Rajshahi, Birbhum and Comilla. In
this school many interesting and unique specimens of images belonging
to Tantric Buddhism are met with. From the above it becomes
clear that the artists were acquainted with the descriptions of deities
as given in the Sadhana literature, because the images and the Dhyanas
as given in the Sadhana coincide most remarkably. In this school
INTRODUCTION 39
•
are to be found such images as Heruka, Vasudhara, Jambhala, Arapa-
cana, Khasarpana, Parnasabari, Simhanada, Manjuvara, Aparajita,
Mahapratisara, Nairatma, Sadaksan Lokesvara, Mahasri Tara, Khadi-
ravani Tara along with many others too numerous to mention. Scholars
desirous of having more information on the subject are recommended
to refer to the excellent work of Dr. N. K. Bhattasali, entitled,
The Iconography of Buddhist and Brhamanical Sculptures in the Dacca
Museum where incidentally images discovered elsewhere in Eastern
Bengal have also been treated. Another monumental work on the
subject is R. D. Banerji's Eastern Indian School of Mediceval Sculpture,
published by the Archaeological Department of the Government
of India.
The images of Buddhist deities found at Ajanta, Ellora and the cave
temples of Western India show signs of immature Tantra and may be
assigned to a period before the 7th century A. D. although some of
the paintings and sculptures are of long antiquity. It does not seem
that the Tantras were very popular with the Buddhists of Western
India or that they were influenced by the teachings of the Tantra which
was mainly a product of Eastern India. Had it not been so, the cave
temples would have at least exhibited some of the Tantric deities such
as Manjusrl, Tara, Khasarpana, Jambhala, Prajnaparamita and others.
The Javanese art seems to have been profoundly influenced by the
Bengal school, and the images of gods and goddesses as found in the
Borobudur temple show that they were acquainted with many deities
of the Vajrayana pantheon As Vajrayana was mainly a product of
Bengal it is probable that colonists carried their art and religion to Java
and Indonesia by the sea route, probably from the sea^port atTamralipti
or from Chittagong and Orissa. The Prajnaparamita image produced
in the Javanese school has been acclaimed as one of the finest specimens
of eastern art, ancient or modern.
After the destruction of Buddhism from India the priests of the
celebrated monasteries of Bengal and Magadha who could save their
heads from the hostile sword of the Muhammadans, fled to Nepal
which is protected on all sides by the mighty walls of the Himalayan
mountains, and took refuge in that country, and thus kept the torch
of Buddhism still burning there. The Bengal school of art which was
carried by the priests was soon modified into a typical Nepalese art
when it came in contact with the native artists, and thus became
stereotyped. But after the 18th century it became debased and crude.
The general impression of the visitor who inspects the numerous
monasteries in Nepal which are the repositories of Buddhist images
of diverse kinds, is that the dreamy sweetness and the sublime beauty
40
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INTRODUCTION 41
of the Bengal school could not be preserved in Nepal, although earlier
specimens of really good art are not at all wanting in the Nepal school.
The followers of Vajrayana who went to Nepal in order to make
sure of their existence converted a good many Newars of the land
to Buddhism and carved out innumerable images of gods and goddesses
in stone, metal or wood, so much so, that a student of iconography
is overwhelmed at their wealth and variety. It is however curious
to note that the origin of almost all the monasteries in Kathmandu,
Bhatgaon, and Lalitapattan dates from the 13th century, which shows
unmistakably that these monasteries were founded almost immedia^
tely after the Muhammadan conquest by the refugees fleeing from
Eastern India.
The cumulative evidence of art, history, and literature leads one
to believe that the pantheon of the Northern Buddhists was not widely
known before the 7th century A. D. nor was the underlying philosophy,
which may warrant the formation of a pantheon, well developed
before that time, although the origin of it is definitely earlier. This
may be explained by the fact that the Guhyasamaja which for the first
time inculcated the doctrine of the five Dhyani Buddhas and their
families, was composed in secret and transmitted in an occult manner
for about three hundred years. This is one of the many reasons why
neither the Guhyasamaja Tantra nor the Dhyani Buddhas nor the
varied pantheon of Vajrayana could be widely known. It is only in
the Sadhana of Asahga as included in the Sadhanamala a definite
reference to the five Dhyani Buddhas and their families is to be met
with, and for that reason it is not improbable to connect Asahga
with the introduction of the very Guhyasamaja Tantra itself. The
subsequent writers only got a glimpse of what filtered through the
secret but very popular mystic organisations. After the 7th century
secrecy was no longer necessary, as the principles of Vajrayana were
then fully established and widely spread through the teachings and
mystic songs of the Siddhas and Mahasiddhas. The beautiful images
produced by the priests and artists made the teachings doubly attrac-
tive. Great men came forward to advocate the cause of Vajrayana.
Chairs for the study and teaching of Tantras were founded in the
different and famous centres of learning such as Nalanda, Odantapuri,
Vikramaslla and Jagaddala. Eminent scholars like Santaraksita worked
as professors of Tantra in the world famous university of Nalanda.
CHAPTER I.
DHYANI AND MORTAL BUDDHAS.
The pantheon of the Northern Buddhists revolves round the
theory of the five Dhyani Buddhas. The Buddhists believe that the
world is composed of five cosmic elements or Skandhas. The five
Skandhas are Rupa (form), Vedana^ (sensation), SamjnS (name),
Sahskara (conformation) and Vijnana (consciousness). These elements
are eternal cosmic forces and are without a beginning or an end.
These cosmic forces are deified in Vajrayana as the five Dhyani
Buddhas. In the course of time they were regarded as the five
primordial gods responsible for this diversified creation, and thus
Vajrayana took a polytheistic form, although polytheism can hardly
apply to a system which considers ounya as the One, Indivisible and
Ultimate Reality. But so long as form could not be given to Sunya
as an anthropomorphic deity, the system of five Dhyani Buddhas
certainly had the flavour of polytheism. The priests and the Vajrayana
authors were conscious of this shortcoming, especially in view of the
fact that all the six Hindu systems of philosophy tended to develop
a highly monistic philosophy. They tried at first to cure this defect
by the theory of the Kulas (families), and Kulesas (lord of families)
of gods and men, and thus divided everything into five groups. For
each group, a particular Dhyani Buddha becomes the Kulesa or the
primordial lord, all other groups taking their origin from him*
Another grand conception of the Vajrayana Buddhism is the theory
of the highest god Yajra^haira> aJ?Q, ..ffd JggL jjjkuddha, the primordial
monotheistic god who is the embodiment ofSunya to whom even
the Dhyani Buddhas owe their origin. The theory originated in the
Nalanda monastery in about the 10th century. l Thereafter, a large
number of images of Vajradhara must have been made in the different
schools of art. The special Tantra dedicated to Adibuddha is the
Kalacakra Tantra which appears to be the original Tantra in which
the doctrine of Adibuddha was for the first time inculcated. The
Kalacakra Tantra thus is a product of the 10th century. Vajradhara
was particularly popular in Nepal and Tibet where numerous images
1. The idea of an Adibuddha originated in the Nalanda Monastery in the
beginning of the 10th Century A.D. See JASB, Vol. II ( 1833 ) pp. 57 ff.
Also Vajradhara Vs. Vajrasattva in JBORS, Vol. IX, pp. 114fF.
DHYANI AND MORTAL BUDDHAS 43
of this primordial god are to be met with. Alexander Csoma de Koros
places the introduction of this conception of Adibuddha in Central
Asia in the latter half of the 10th century* It originated at Nalanda
according to him in the beginning of the 10th century, and no mention
of the Adibuddha cult is made by any writer prior to this time.
Homage is paid to Adibuddha in the shape of a flame of fire which the
priests consider as eternal, selPbbrn ~ancT~self*existent. It is said in
tHe~~Svayambhti Purana that Adibuddha first manifested himself in
Nepal in the form of a flame of fire, and ManjusrI erected a temple
over it in order to preserve the flame. This ancient temple is known
as the Svayambhu Caitya.
The conception of Vajradhara presupposes Adibuddha and, there-
fore, is later than the first half of the 10th century. Vajrasattva, being
a regular development of the Bodhisattva Vajrapani emanating from
the Dhyani Buddha Aksobhya, is a little earlier, although the conception
of Vajradhara and Vajrasattva are sometimes inextricably mixed up.
In Vajrayana, Adibuddha is regarded as the highest deity of the
Buddhist pantheon, the originator even of the five Dhyani Buddhas.
When represented in human form, he begets the name of Vajradhara
and is conceived in two forms, single and Yab-yum. When single, he
is bedecked in jewels, gaudy ornaments and dress, sits in the Vajra'
paryahka or the attitude of meditation with the two feet locked with
soles of the feet turned upwards. He carries the Vajra in the right
hand and the Ghanta (bell) in the left, the two hands being crossed
against the chest in what is known as the Vajrahuhkara Mudra
(Fig 12). The Vajra (thunderbolt) here is the symbol for the ultimate
reality called Sunya while the bell represnts Prajna or wisdom the
sounds of which travel far and wide. Sometimes the symbols are shown
on a lotus on either side, the Vajra being on the right and the Ghanta
in the left (Fig 13). In Yab-yum, his form remains the same as when
single except that here he is locked in close embrace by his Sakti^or the
female counterpart whose name according to Getty is Prajnaparamita.
The Sakti is somewhat smaller lri"sizerTs richly dressed and bedecked
in ornarpents, carrying the Kartri (knife) and the Kapala (skull cup) in
the right and left hands respectively (Figs. 14, 15). In these figures the
Kartri is the symbol for the destruction of ignorance, the JCapala stands
for oneness absolute, while the double form Yab^yum represents that
the distinction between duality and non^duality is unreal, and the two
mix themselves into one as salt mixes in water. The_deitv^ Vajiradhara
is an embodiment ofthe Jhdghest. ^reality, , Sunya, ^jljLJE^SlP^rai^ta
represents Karuna (compassion) and in close embrace they turn jntp
one Sunya in which Karuna merges, and the duality ceases. Vajradhara
44 BUDDHIST ICONOGRAPHY
is widely represented in Tibet. 1
Vajradhara is described in Buddhist Tantric works and he has several
forms. An important description in the Nispannayogavali is given
below. This particular form of Vajradhara is three- faced and six-armed.
Vajradhara.
Colour — Reddish White. Faces — Three.
Arms— Six. . Pose— Tandava Dance.
Vajradhara is the principal deity in the Vajrasattva Mandala in the
Nispannayogavali. He is described thus : —
"Kutagaragarbhe Vajradharah. . .isadraktanu-viddhasitavarnah. . .trimu-
kho mla-raktasavyetaravaktrah. . . sadbhujo vajra-ghantavirajitabhuja-
bhyam alingitasvabhaprajna savyakarabhy am krpanankusavarau
vamabhyam kapalapasabhrt ardhaparyahkena navanatyarasais-
tandavl." NSP. p. 8.
"In the innermost chamber of the Mandala there is Vajradhara.
His colour is reddish white. He is three-faced. The right face is blue
and the left is red. He is six-armed. With the two principal hands
carrying the Vajra and the Ghanta he embraces the Prajria. The two
other right hands show the excellent sword and the Ankusa. In the
two remaining left hands, he carries the Kapala and the noose. He
stands in the Ardhaparyahka and dances the Tandava dance exhibiting
the nine dramatic sentiments".
Fig. 16 represents a three- faced and six-armed Vajradhara image
without the Sakti in the Baroda Museum.
But Vajradhara was not universally accepted as the Adibuddha or
the first creative principle. When the theory of Adibuddha was fully
established the Buddhists seem to have ranged themselves into ,so many
sects as it were, holding different views regarding specific forms which
the Adibuddha should take. Some considered one among the five
Dhyani Buddhas as the Adibuddha, some acknowledged Vajrasattva as
the Adibuddha. Many others were content to regard the Boddhisattva
such as Samantabhadra or Vajrapani as the Adibuddha. Thus the cult
of Adibuddha was widely distributed amongst the different 'schools,
which gave rise to as many different sects amongst the Tantric
Buddhists.
Vajradhara or the Adibuddha is supposed to be the originator of
the five Dhyani Buddhas, the progenitors of the five Kulas or families of
Buddhist gods and goddesses. Next to Vajradhara the Phyani^jBu.ddhas
or the Tathagatas are important in Buddhist iconography and, therefore,
1. Getty -GNB, p. 5
DHYANI AND MORTAL BUDDHAS 45
requires treatment in detail. The Guhyasamaja Tantra (Tantra of
Secret Communion) was the first to reveal their existence in a Sahglti
(holy assembly) which is supposed to introduce new ideas into
Buddhism.
In the Guhyasamaja l the Dhyani Buddhas are given a Mantra, a col-
our, aSakti^a direction, and a guardian of the gate. As these Dhyani
Buddhas are of primary importance in Buddhist iconography, it is nece-
ssary to deal with their origin in some detail here. The Guhyasamaja
opens in a grandiloquent style with the description of a monster assem-
bly of gods, Tathagatas, Bodhisattvas, Saktis, and various other divine
beings. The Tathagatas present in the Assembly requested the Lord
Bodhicittavajra to define the Tathagatamandala or the magic circle of
the five Dhyani Buddhas and in response to their request, the Lord sat in
a special Samadhi (meditation) called the Jnanapradipa (lamp of know-
ledge), and his whole form started resounding with the sacred sounds of
VAJRADHRK which is the mantra of the Dvesa family. No sooner the
words came out, the sounds transformed themselves into the concrete
shape of Aksobhya with the earth-touching signal (Mudra).
Then the Lord sat in another meditation and soon became vibrant
with the sacred sounds of JINAJIK, the principal mantra of the Moha
family. The sounds condensed themselves into the concrete form of
Vairocana with the Dharmacakra Mudra and was placed in his front in
the East.
Next with a third Samadhi (meditation) the Lord became resonant
with the word RATNDHRK the principal mantra of the Cintamani
family and soon became condensed in the human form of Ratnaketu
with his favourite signal of Varada (gift bestowing) and was placed to
the south of the Lord.
The Lord thereupon took a fourth Samadhi and became resonant
with the sacred sound of AROLIK, which is the principal mantra of the
Vajraraga family. The vibrations soon grossened themselves in the
human form of Amitabha with the signal of Dhyana (meditation) and
was placed behind the Lord in the west.
Next, the Lord assumed another Samadhi and soon became resonant
with the sacred sound of PRAJNADHRK, the principal Mantra of the
Samaya family. The vibrations after condensation gradually assumed
the shape of Amoghasiddhi with his characteristic symbol of Abhaya
(assurance), and was placed by the Lord in the north.
Then the Lord sat in a series of special Samadhis, five in number, and
became resonant with five different mantras. The vibrations in like
Guhyasamaja, chapter 1 is entirely devoted to the formation of the Dhyani
Buddha mandala.
46 BUDDHIST ICONOGRAPHY
manner were condensed in the form of five goddesses as female counter-
parts of the five Tathagatas already named and were placed in their
appropriate positions.
Thus, the Lord in the first Samadhi became resonant with the sound
DVESARATI which transformed itself into the form of his own queen
and was placed on his own seat.
Next, he became resonant with the sound MOHARATI which took
the shape of a goddess and was placed in the eastern direction as the
queen of Vairocana.
Thereafter he became vibrant with the sound fRSYARATI which
took the shape of a goddess and was placed in the southern direction
as the queen of Ratnasambhava.
Next in another Samadhi the Lord became vibrant with the sound
RAGARATI which soon took the concrete shape of a goddess and
was placed in the western direction as the queen of Amitabha.
Then in a further meditation the Lord became resonant with the
sound VAJRARATI which took the concrete shape of a goddess and
was placed in the northern direction as the queen of Amoghasiddhi.
When all the Tathagatas were associated with their female counter-
parts the Lord sat in four more meditations and through these created
four guardians of gates for the four cardinal directions.
First, he sat in the Mahavairocanavajra Samadhi and became resonant
with the sound YAMANTAKRT. These sound vibrations soon assumed
the concrete shape of a violent deity, fearful to the Tathagatas, and was
placed at the eastern gate.
Next, he became vibrant with the sound PRAJNANTAKRT. The
sound vibrations soon assumed the form of a violent deity, fearful to
the Vajra process, and was placed at the southern gate.
In a third Samadhi the Lord became vibrant with the sound
PADMANTAKRT which soon took the form of a violent deity repre-
senting the speech of the Tathagatas and was placed at the western gate.
Finally, the Lord sat in another Samadhi called the Kayavakcittavajra
of the Tathagatas, and became vibrant with the sound VIGHNANTA-
KRT which soon took the shape of a violent deity representing the body,
speech and the mind of the Tathagatas, and was placed at the northern gate.
The above account as recorded in the Guhyasamaja Tantra marks
the beginning of the theory of the five Dhyani Buddbas, their counter-
parts, their mantras and the guardian of the gates. \ The five Dhyani
Buddhas ar*» *hp Corner stones of Buddhist Iconography on which the
whole edifice of the Buddhist pantheon is crecte^ The five Dhyani
Buddhas are the progenitors of the five Kulas orramilies of deities, and
the community worshipping them were known as the Kaulas, and the
DHYANI AND MORTAL BUDDHAS 47
process of worship was called Kulacara or family conduct. These
Dhyani Buddhas further split themselves up in the form of Bodhhisattva
and their female principles who are responsible for creating everything
found in existence. The forms of deities are nothing but the gross
forms of the different sounds, and thus the connection of the mantra
with the deity is established. I
The five Dhyani Buddhas who are the embodiments of the five Skan-
dhas or primordial elements are the progenitors of the five families of
deities constituting the whole of the Buddhist pantheon. The emanated
deities of these Dhyani Buddhas, as a rule, hold the miniature figure of
the parental Dhyani Buddha on their heads and are usually of the same
colour as that of the Dhyani Buddha and are placed in the same direc-
tion as is assigned to their sires. This very plan is followed most scru-
pulously in almost all the Mandalas or magic circles as described in the
remarkable work, Nispannayogavali of Mahapandita Abhayakara Gupta. '
The names, colours and the symbols of the five Dhyani Buddhas
are stated briefly in the following verse occuring in the Sadhanamala :
Jino Vairocano khyato Ratnasambhava eva ca
Amitabhamoghasiddhiraksobhyasca prakirtitah
Varna amisam sitah plto rakto haritamecakau
Bodhyahgl Varado Dhyanam Mudra Abhaya-Bhusprsau.
Sadhanamala, p. 568-9
"The Jinas (victorious ones) are Vairocana, Ratnasambhava, Amita*
bha, Amoghasiddhi and Aksobhya. Their colours are white, yellow,
red, green and blue, and they exhibit the Bodhyahgl (teaching), Varada
(boon), Dhyana (meditation), Abhaya (protection), and Bhusparsa
(earth-touching) attitudes of hands respectively/'
iThe Dhyani Buddhas are a peculiar kind of Buddhas who are not
required to pass through the stage of a Bodhisatta. They were never
anything less than a Buddha. They are always engaged in peaceful
meditation, and they voluntarily abstain themselves from the act of
creation. To create is the work of their emanations, the Divine
Bodhisattvas. As has been said already, the Dhyani Buddhas are five
in number to which a sixth Vajrasattva is sometimes added. The
Guhyasamaja Tantra makes it clear that all the five Dhyani Buddhas
along with their female counterparts and the guardians of gates were
known in circa 300 A. D. the time of the introduction of this new
Tantra. That the five Dhyani Buddhas might have owed their origin
to the theory of the eternity of the five senses, seems to be borne out
by a passage in the Cittavisuddhiprakarana l of the Tantric Aryadeva. I
1. JASB, 1898. p. 178. "
48 BUDDHIST ICONOGRAPHY
But it may also be possible that the five Mudras which Buddha Sakya-
simha made sacred by using on memorable occasions and which were
constantly depicted in the Buddhistic figures of the different schools
of art, gave rise to the five Dhy an i Buddhas (Figs 17, 18). Advayavajra
who flourished in the llth century, has written in one of his short
works that the five Dhyani Buddhas took their origin from the theory
of the eternity of the five Skandhas (elements), that is to say, that the
Dhyani Buddhas represented the five primordial cosmic forces which
are responsible for creation. Vajrasattva, the sixth Dhyani Buddha,
who is generally regarded as the priest of the five Dhyani Buddhas
and is usually represented with the priestly symbols, the Vajra and the
Ghanta, is an embodiment of the five Skandhas collectively, and un-
doubtedly a later addition to the pantheon of the Northern Buddhists.
The Dhyani Buddhas are always represented as seated on a full
blown lotus, and in the meditative pose with legs crossed, the right
foot crossing over and in front of the left, with the soles of both feet
turned upwards. The hand that rests on the lap is sometimes empty,
but in most cases holds the bowl. The head is bare, the thick clustering
curls radiate effulgence like a flame of fire The eyes are half-closed
in-meditation showing the mind completely drawn inwards in perfect
introspection. The dress consists of an undergarment reaching from
the chest to the knee, and secured by a scarf. The body is loosely
covered by the habit of a monk, leaving only the right arm bare.
The Dhyani Buddhas are generally represented on the four sides of
a Stupa which is the symbol of the Buddhist Universe, facing the foi!r
cardinal points. Vairocana is the deity of the inner shrine and is,
therefore, generally unrepresented. But exceptions to this lule are by
no means rare. He is occasionally assigned a place between Ratnsam*
bhava in the south and Aksobhya in the East. Independent shrines
are also dedicated to each of the Buddhas. .
The five Dhyani Buddhas are given each a special recognition symbol
and a colour. The symbols are extremely important for the purpose
of iconographical studies, because the female counterparts and the
wrings of the DhySni-B«ddhas invariably display these symbols in
orderto sKow^theit^ origin/ 1'fius Amitabha is given the Lotus as the
recognition symbol.^ His Sakti Pandara and his Bodhisatta Padmpajii
must exhibit the Lotus symbol in order to show that they are the
emanations of Amitabha. Similarly, all the other Dhyani Buddhas
also have their own symbols and the name of the family is generally
fixed from these symbols ; for instance, Amitabha is the progenitor
of the Lotus family, Aksobhya is the leader of the Vajra family,
Ratnasambhava is the embodiment of the Jewel family, and so forth.
DHYANI AND MORTAL BUDDHAS 49
The Advayavajrasangraha gave special epithets to the Dhyani Buddhas
to indicate their families, although these special epithets are not known
from any other source. According to this authority, Amitabha is
Padmakuli, Aksobhya is Vajrakuli, Vairocana is Tathagatakull, Ratna-
sambhava is Ratnakuli and Amoghasiddhi is Karmakuli. The Kula
in the case of Vajrasattva is not given for the simple reason that
he has neither family nor a special element.
Next to symbols, the colour of the Dhyani Buddhas is important.
Each Dhyani Buddha has a special colour and this colour is required
to be shown by all originating from each, Sometimes in classifying
Buddhist deities there is no other sure indication of the parental Dhyani
Buddha except the colour. On the ground of colour alone, and in
the absence of positive mention of the parental Dhyani Buddhas,
several deities have been classified in this book in this manner.
A detailed description of the Dhyani Buddhas along with their
female counterparts and their offsprings, the Bodhisattvas, now follows
with relevant information regarding their forms and their statues and
paintings. Descriptive quotations from Tantric works have been
incorporated to indicate the source of information wherever possible.]
1. AMITABHA. , ,
Colour-— Red Vehicle— Peacock /
Mudra — Samadhi Symbol — Lotus
| By far the most ancient among the Dhyani Buddhas is Amitabha
who is said to reside in the Sukhavati heaven in peaceful meditation.
He presides over the current Kalpa (cycle) which is Bhadrakalpa. As a
Dhyani Buddha he does not create. It is his Bodhisattva Padmapani,
also known as Ayalokitesvara, who is responsible for creation. The
form of Amitabha is described in the Pancakara section of the
Advayavajrasamgraha thus : J
"Pascimadale Ravimandalopari rakta-Hnhkarasambhuto raktavarno
Amitabhah padmacihnah samadhimudradharah samjnaskandhasvabhavo
ragasarirah sukratmakah padmakull pratyaveksanajnanalaksano gris^
marturupaha mlarasasarlrah tavargatma pradosavan". ADV. p. .41
V'On the western petal on the disc of the sun there is Amitabha
of red colour originating from the red syllable Hnh. | He has a lotus
as his sign and he exhibits the Samadhi Mudra in his two hands. He
is of the nature of the cosmic element of Samjna (name), is an embodi*
ment of attachment and belongs to the Lotus family. He stands for
the vital fluid, and is endowed with the Pratyaveksana (looking after)
7
50 BUDDHIST ICONOGRAPHY
knowledge. He represents the summer season and the acid taste. He
presides over the group of letters beginning with Ta (cerebrals) and rules
over the evening twilight".
When represented on the Stupa, he always faces the West and the
Nepalese Buddhists regard him as the fourth Dhyani Buddha. His
two hands with palm open lie on his lap, one upon the other forming
the Dhyana or the meditative mudra. His colour is red and his Vahana
is a pair of peacocks. His recognition symbol is the Lotus.
Images, sculptures, paintings and drawings of this description are
found in all Buddhist countries including India, Tibet and China. \ One
miniature painting of the Dhyani Buddha is reproduced in Fig. 19.
Besides the two-armed form various other forms are known of this
and other Dhyani Buddhas. It may be remembered here that all
the five miniatures reproduced here belong to the collection of
Dr. Evans* Wentz.
* Amitabha images are found in abundance in Tibet 1 and in
China 2 [
PANDARA
I ' Colour — Red Symbol — Lotus
| Pandara is also called Pandaravasini. According to a Dhyana in
the Advayavajrasahgraha she belongs to the Lotus family which is
also the family of the Dhyani Buddha Amitabha. Pandara thus is
the"~spiritual consort of Amitabha. \Her form and nature are des*
cribed as under : — |
"Vayavyam candramandalopari Parhkarabljasambhuta Pandarava*
sini rakta raktavarna padmacihna tejodhatusvarupa padmakula
ragarakta." ADV. p. 43.
"In the Vayu corner on the orb of the moon there is Panda-
ravasini originating from the ( red ) germ syllable Parh. I She is red
in colour and has the Padma ( lotus ) as her recognition symbol.
She is the embodiment of the element of Fire. She belongs to
the Lotus family and is full of attachment."
• Images and paintings of this goddess are rare. She is however
known in Nepal in paintings, and some of her sfejuettes are found
in China A Fig 20 illustrates a Nepalese drawing of the goddess. ^
Pandara is represented in Tibet 3 and China 4. The illus"
trations of drawings of all the five Buddhasaktis, Pandara and
1. Gordon : ITL p. 27. Getty— GNB. pp. 38, 39.
2. Clark : TLP, II. pp. 32, 57, 142.
3. Getty : GNB p. 139.
4- Clark : TLP, II, under the name of Pandaravasini, pp. 61, 106, 152,164.
DHYANI AND MORTAL BUDDHAS 51
others are reproduced from Wright's Hutory of Nepal, Plate VI.
These drawings are made by Nepalese painters.
PADMAPANI. If
Colour — Red Symbol— Lotus '(
I Padmapani is the Bodhisattva attached to the Padma ( lotus )
family which is presided over by the Dhyani Buddha Amitabha
whose spiritual consort is Pandara or Pandaravasim. The Lotus
is the symbol of this family and the colour assigned to this family
is red. The Bodhisattva Padmapani begets the red colour and a
full*blown lotus as his symbol. Padmapani is fairly well represen-
ted in the Buddhist countries of the North including Tibet l and
China./ One of his images is illustrated in Fig. 21 2.
2. AKSOBHYA.
Colour — Blue Mudra— Bhusparsa
Vehicle — Elephant Symbol — Vajra •
Next in importance and antiquity is the Dhyani Buddha Aksobhya
whcTlsHnientioned as a Tathagata in the smaller recension of the
Amitayus Sutra which was translated into Chinese between A. D, 384
and 417. Aksobhya is regarded as the Second Dhyani Buddha by the
Nepalese Buddhists. His description appears almost everywhere in
Tantric literature. The Paficakara section of the Advayavajrasangraha
perhaps gives the best description thus :
^Suryamandalastha-nlla-Humkaranispanno dvibhuja ekamukho Bhu-
sparsamudradharo vajraparyankl vijnanaskandhasvabhavah
vajrakuli sisiramadhyahnakatusruti'akasasabda-cavargo Aksobhya-
vi£uddhah". ADV. p. 40-41.
| Aksobhya originates from the blue syllable Hum which is placed
on the orb of the sun. He is two-armed and one-faced, exhibits
the Bhusparsa (earth-touching] mudrf and sits in the Vajraparyanka
(adama"ntineleat) pose. He represents the primordial cosmic element
of Vijnana ( consciousness ). He is the embodiment of the Vajra
family and represents the winter season, noon-time, pungent taste,
faculty of hearing, the element of Ether and Sound and the Ca (palatal)
group of letters".- J
\Images, sculptures, statuettes and paintings of Aksobhya of this
description are to be met with everywhere in Buddhist countries
especially of the North. When represented in the Stupa he always
1. Getty : GNB. ppt 61, 62
2. This and other illustrations of the five Dhyani Bodhisattvas are in full-
size bronzes. All these are to be found in the U Vahal in Nepal.
52 BUDDHIST ICONOGRAPHY
faces the East. His left hand rests on the lap while the right
Crests on the~nght knee with the tips of the fingers touching the
ground with palm drawn inwardly. JffisJVahana is a pair of elephants
and his recognition symbol is the Vajra or the thunderbolt.
Various other forms of Aksobhya are found in Tantric works,
some four^armed, some six-armed, some standing and some sitting,
some single and some in Yab-yumj| Some two-armed specimens are
reproduced here (Figs. 22, 23).
, /He is popular in Tibet 1 and China
(ii)
Colour — Blue Arms — Eight
Aksobhya is the principal deity in the Aksobhya Mandala according
to Pindlkrama in the Nispannayogavall. He is described thus :
"Aksobhyah krsno raudrah sitaraktasavyetaramukhah savyakaraih
kulacakrapadmani vamair-ghanta-Cintamani-khadgan vibhranah svabha-
£parsavajralingitah". NSP. p. 5!
| "Aksobhya is blue in colour and is angry-looking. The colour of
his right face is white and that of the left is red. He holds in his right
hands the Vajra (family symbol), the discus and the lotus. In the three
left hands he carries the bell, the Cintamani jewel and the sword.
With the two principal hands he embraces the Prajna Sparsavajra
by name", j
( , MAMAKI
1 Colour— Blue Symbol — Vajra
* According to a Dhyana in the Advayavajrasafigraha, Mamaki
belongs to the Vajra family and thus she is the spiritual consort of the
Dhyani Buddha Aksobhya, the embodiment of the Vajrakula. |The
description is given below : f
* Nairrtyarh candramandalopari krsna-Mam-karabijasambuta Ma-
maki krsnavarna krsnavajracihna abdhatusvabhava Vajrakula dve*
sarakta"! ADV. p. 4!
"On the orb of the Moon in the Nairrta corner there is Mamaki
originating from the blue germ syllable Mam. \ She is blue in colour
and has the blue Vajra as her recogntion symbol. She is the embodi-
ment of the element of Water and she belongs to the Vajra family.
She is full of enmity", f
Mamaki is very rarely represented. There are Nepalese drawings of
this goddess J of which one specimen is reproduced here (Fig 24). She
is known in Tibet and China.f
1. Gordon : ITL, p. 104 ; Getty : GKB, pp. 36, 37.
2. Clark: TLP, II, pp. 126, 129, 138, 244.
DHYANI AND MORTAL BUDDHAS 53
VAJRAPANL
y
Colour — Blue Symbol — Vajra
I The Bodhisattva Vajrapani with the Vajra symbol is the spiritual
son of the Dhyani Buddha Aksobhya who is the progenitor of the
Vajra family. His spiritual mother is Mamakl. Vajrapani, when
represented, either stands or sits and carries usually^ lotus on which
is placed the family symbol of Vajra. Sometimes he holds the Vajra
against the chest in one of his hands/ Some images of his are illus-
trated here (Figs. 25, 26, 27).
£ He is known and widely represented in Tibet l and China 2 J
3. VAIROCANA
Colour— White Mudra — Dharmacakra
Vahana — Dragon Symbol — Discus
f Vairocana is mentioned along with the other Dhyani Buddhas in
the Guhysamaja which is dated circa 300 A.D. He is regarded as the
oldest^ ^^ t'le ^rst Dhyani Buddha by the Nepalese Buddhists and
His place is in the sanctum of the Stupa where he is the master of the
whole temple and its contents. Naturally, therefore, he cannot be
represented outside the Stupa, but exception to this rule is frequently
met with in the important stupas of Nepal where he is assigned a place
between Aksobhya in the East and Ratnasambhava in the South. His
form is frequently described in Tantric works, but the description
occuring in the Pancakara section of the Advayavajrasahgraha is full.
It is given below : |
"Purvadale candramandalopari Omkarajah Suklavarna*Vairocanah
suklacakracihnah Bodhyahgl-mudradharah rupaskandhasvabhavah
mohasvarupo vitavisuddhah tathagatakuli adarsatvena pratisthitah
Hemantartuvisuddhah madhurarasasarlrah Kavargavyapl prabhatasan-
dhyatmak§yasvabhavah". ADV. p. 41
Vj'Vairocana originates from the white syllable Om placed on the orb
of the moon on the eastern petal of the lotus and is white in colour.
His recognition symbol is the white Discus. He exhibits the Bodhyafigl
mudra and represents the cosmic element of Rupa (Form). He is of
the nature of Moha (delusion) and is without bad companions, he is
the embodiment of the Tathagata family, and is established as an
embodiment of Adarsa (ideal) knowledge. He represents the Hemanta
season, the sweet taste, the Ka (guttural) group of letters, and the
mornings and evenings of the day". \
1. Getty : GNB. p. 51
2* Clark : TLP. II. pp. 8, 11, 56, 197, 201.
54 BUDDHIST ICONOGRAPHY
When represented, Vairocana is white in colour, and his two hands
are held against the chest with the tips of the thumb and forefinger of
each hand united. His Vahana is a pair of Dragons or gryphons and
his recognition symbol is shown to be the Cakra or the Disc.
Instead of two, he may have many arms, and such descriptions are
also met with in the Nispannayogavall./ Some of his two-armed images
are reproduced here (Figs 28, 29). / His images are found in Tibet l
and China a /
( ii )
Colour — White Faces — Four
Arms — Eight
When Vairocana is four-faced and eight-armed he is called Vajra-
dhatu and in this form he is described in the Vajradharu Mandala of
the Nispannayogavall with the following words :
"Vairocano vajraparyankena nisannah subhrah sita-pita-rakta-
harita^caturvaktro astabhujah savyavamabhyam dhrtasavajrabodhyangi-
mudro* parabhyam dhrtadhyanamudro daksinabhyam aksamalasara-
dharo vamabhyarh cakracapabhrt". NSP. p. 44-
"Vairocana is seated in Vajraparyahka and is white in colour. His
four faces show white, yellow, red and green colours. I He is eight-
armed. With the two principal hands holding the Vajra he exhibits
the Bodhyahgl or the Dharmacakra mudra. With the second pair of
hands he shows the Dhyana mudra. The two remaining right
hands hold the rosary and the airow, and with the two remaining
left he carries the discus and the bow". |
Vajradhatu Buddha is mentioned in the Chinese collection1. The
Chinese figure corresponds with the description given here and is
illustrated in Fig 30.
LOCANA.
Colour— White Arms— Two
Symbol — Discus
The Dhyani Buddhas are a]J associated with their Sakti or female
counterpart and an offspring or Bpdhisattva. They fall into a separate
group of five or six if Vajra$attva is added. Locana belongs to the
Tathagata family to which the Dhyani Buddha Vairocana also belongs.
Thus Locana is the, Sakti or the female counterpart of the Dhyani
Buddha Vairocana, f A short Dhyan^ in the Advayavajrasahgraha
describes her form thus ; [
1. Gordon : ITL. p. 51 ; Getty: GNB, p. 34.
2. Clark -TLP, II, pp 12, 57. 3.' Clark : TIP. Vol. II, p. 115
DHYANI AND MORTAL BUDDHAS 55
"Agneyakonadale candramandalopari sukla-Lom-karaja suklavarna
Locana cakra-cihna prthvidhatusvarupa Tathagatakulodbhava mo*
harakta". ADV. p. 42
"On the disc of the moon on the petal in the Agni corner there is
Locaria originating from the white germ syllable Lom. J She is white.
in colour, bears the recognition symbol of the discus, and is the embodi-
"1*1 em of t h e cosimc~eIenSnF"bT Earth. She belongs to the Tathagata
fanuTy^anHTs steeped in delusion".
Paintings and sculptures of this goddess are rare, | A Nepalese draw-
ing of the goddess is reproduced here in Fig. 31 Locana is represented
in Tibet. *
SAMANTABHADRA
Colour — White Symbol — Cakra
I The Dhy ani Buddhas are the progenitors of the different families
and they have each a spiritual consort and spiritual son. These spiri-
tual sons are called the Bodhisattvas. The Bodhisattvas bear the same
colour, and the same recognition symbol whether they sit or stand. The
Bodhisattva with the Cakra symbol is Samantabhadra and is thus
affiliated to the Dhayani Buddha Vairocana with the Cakra symbol. He
belongs to the Tathagata Kula. When represented,! he either stands
erect or sits in different sitting attitudes, such as Dhyana, Lalita or
Bhadra poses on a full-blown lotus. He usually holds the stem of a
lotus on which the family symbol, the Cakra, is shown.
Samantabhadra is known in Tibet 2 and China ;i and is frequently
represented in the Buddhist countries of the North. | One of his images
is illustrated here in Fig. 32.
4. AMOGHASIDDHI.
Colour — Green Mudra — Abhaya
Vahana — Garuda Symbol — Visvavajra
VThe Nepalese Buddhists consider him to be the Fifth Dhyani
Buddha in order. His left hand lies open on the lap and the
right exhibits the Abhaya ( protection ) mudra. His form is des-
cribed in many places in Tantric works I but the one appearing in
the Advayavajrasahgraha appears to be the best and i$ quoted
below : t
"Uttaradale suryamandalopari syama-Kham-karajah syamavarno-
'moghasiddhih visva-vajracihnabhayamudradharah Samskaraskandha-
1. Getty; GNB, p. 139.
2. Getty ; GNB. p- 47. ». Clark ; TIP, II, pp. 8, 9, 52, 133
56 BUDDHIST ICONOGRAPHY
avabhavo Varsarturupah [Karmakull] pisitap(s?)ahtiktaras§tmakah
pavargavisuddhah ardharatrasvabhavah." ADV. p. 41-42
"Amoghasiddhi originates from the green syllable Kharh placed
on the orb of the sun on the northern petal of the lotus, and
is of green colour. /His recognition symbol is the Visvavajra or
^> 1C '""(-, ,
the double thunderbolt. He exhibits the Abhaya ( protection )
mudra and represents the cosmic element of Samskara ( confor-
ritotion ). He is the embodiment of the rainy season and is a
demon by nature ; [ he belongs to the Karma family ] and he
represents the bitter taste, the Pa (labial) group of letters and the
middle part of the night."
When represented, his colour is green and he always faces the
North. His Vahana is a pair of Garudas and his recognition
symbol is the Visvavajra or the double conventional thunderbolt.
Sometimes a serpent with seven hoods forms the background and
an umbrella. In front of his shrine, therefore, is found a small
square pit which is meant for the snake
Statues and paintings of this Dhyani Buddha are found in
large numbers in all Buddhist countries especially of the North*
Some of them are reproduced here (Figs. 33, 34 ). } He is popular
in Tibet * and China af
TARA.
Colour — Green Symbol — Utpala
| Tara also called Tarim according to a Dhyana found in the
PancSkara section of the Advayavajrasahgraha belongs to the
Karma family to which evidently the Dhyani Buddha Amogha-
siddhi is also associated. The green colour of Tara also suggest:
that she is the spiritual consort of Amoghasiddhi of green colour
Her form and nature are given in the following passage :
"Atsanyarh candramandalopari kanakasyama-Tarh karaparinata TarinI
syamavarna syamamlotpalacihna vayudhatusvarupa Karmakula
Irsyarakta." ADV. p. 43.
"In the Isana corner on the orb of the moon there is TSrim
originating from the germ syllable Tarn of golden green colour
Her recognitipn_ symbol is a green night lotus. She is the
embodiment of the element of Air/ SKe belongs to
family and is full of jealousy." 1
1, Gordon: ITL, p. 27 , Getty: GNB. p. 42.
I. Clark: TLP, II, pp. 32, 56, 115, 126, 128, 138, 144.
57
Fig. 12 ADI-BUDDHA, VAJRADHARA,
( From a Nepalese Painting )
58
Fig. 13 Vajradhara
( Baroda Museum )
Fig. 14 Vajradhara Yab-yum
( Nepal )
Fig, 15 Vajradhara Yal>yum
( Side View )
Fig. 16 Vajradhara (Six-armed)
( Baroda Museum )
59
Fia. 17 Buddha in different Muuia* (
Fig* 18 Buddha in ( Java )
Fig. 19 Amitlhha,
Fig, 20 Pandara,
Fig. 21 Padmapani ( Nef?al
Fig. 22 Aksobhya.
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DHYANI AND MORTAL BUDDHAS 73
The same remarks apply to her images and paintings which
are rare in India* One specimen of her images is illustrated here
(Fig. 35 ), In Tibet1 and China2 she is widely known.
VISVAPANI
Colour — Green Symbol — Visvavajra. i
Visvapani, as the name indicates, is the holder of the Visvavajra
or the double thunderbolt which is the symbol of the Dhyani
Buddha Amoghasiddhi, whose spiritual consort is Tar a or Tarim.
They all belong to what is called the Karmakula to which the
green colour is assigned. Visvapani thus is green in colour and
shows the Visvavajra on a lotus. When represented, he may.
stand erect or sit in different sitting postures. His images are
sometimes found, and one specimen is illustrated here ( Fig 36 ).
Visvapani is known in Tibet r>
5. RATNASAMBHAVA.
Colour — Yellow Mudra — Varada
Vahana — Lion Symbol — Jewel !
I The Nepalese Buddhists regard him as the Third Dh>uni Buddha
in order, and the earliest mention of his name may be found in the
Guhyasamaja which is believed to have been composed circa 300 A.D.
He is the progenitor of the Ratnakula, and is described widely in the
Buddhist Tantric works. Out of all descriptions the one given in
the Pancakara section of the Advayavajrasahgraha is perhaps the besty
Here Ratnasambhava is described as under : — J
"Daksinadale suryamandalopari TranVkarajah pitavarno Ratnasam-
bhavo ratnacihnavaradamudradharo vedanasvabhava'piiunasanrah rak-
tatmako ratnakull samatajnanavan vasantarturupo lavanasanrah Tavar-
gavyap! trtlyacaturtliapraharatmakah". ADV, p. 41.
^"Ratnasambhava originates from the yellow syllable Train placed
on the orb of the sun on the southern petal./ He is yellow in cqlour*
his recognitiqn symbol is the jewel and he exhibits the Varada (gift"
bSstnwing) Mudra. He represents the cosmic element of VedanS
(sensation) and is the embodiment of slander (pisuna). He presides
over the blood in the human system, and belongs to the Ratna (jewel)
family of deities. He possesses the knowledge of Samata (equality)
and presides over the spring season, the saline taste, the Ta (dental)
group of letters and the third and fourth parts of the day and night", \
1. Getty : GNB, p. 127 2 Clark: TLP, II, pp. 60, 107, 171.
3. Getty: GNB, p. 10 i
10
74 BUDDHIST ICONOGRAPHY
When represented, his colour is yellow* and he alwayvS faces the
South. His left hand rests on the lap with "opeiTpalm, and the TTgBt
'exhibits the Varada Mudra or the gift bestowing attitude. His Vahana
is a pair of lions, and theTCTOgnition symbol is the Jewel (Ratnacchata),
He may have more arms than two and in such forms he is described
in^lhe Nispannaybgavali. ~Such forms alre also represented iti art."f"Some
oT"his two-armed forms are only illustrated here (Figs 37, 38), \ He
is widely known and represented in Tibet 1 and China -./
^ , VAJRADHATVI&VARI
J Colour — Yellow Symbol — Jewel
/ Vajradhatvisvarl, according to a statement in the Advayavajrasam*
graha is the deity of the centre surrounded by the four Buddhasaktis,
bocana, Tara, Pandara, and MamakL She is said to be the embodi-
ment of the highest truth in Mahayana Buddhism which is named
differently as Tathata, Sunyata, Frajnaparamita and so forth :t.
Vajradhatvisvan thus can be taken as the spiritual consort of Ratna-
sambhava only, with the yellow colour and the jewel as symbol.
Images and paintings of this deity are still rarer than those of the
other Buddhasaktis. / One of her Nepalese paintings is illustrated
here (Fig 39). / She is known in Tibet *./
; , RATNAPANI
i /
/ ' Colour — Yellow Symbol— Jewel
Ratnapani, as the name signifies, belongs to the Ratnakula which
is presided over by the Dhyani Buddha Ratnasambhava, whose
spiritual consort is Vajradhatvisvan. Ratnapani is of the same
nature as the Dhyani Buddha and when represented, he either
stands erect, or sits in different sitting postures. He
stalk of a lotus on which appears the" Kula symbol
hefe~thne Jewel (Ratnacchata). He is represented sparingly in the
BuddTiist Countries of "the North, and a metal image of his found
in Nepal is illustrated here (Fig 40). Ratnapani is known and
represented in Tibet 5.
6. VAJRASATTVA.
Colour — White Symbols — Vajra and Ghanta
( Vajrasattva, the Sixth Dhyani Buddha, is regarded by the Nepal
Buddhists as the priest of the Five Dhyani Buddhas. He is not repre-
1. Getty : GNB, p. 37. 2. Clark : TLP, II, pp. 32, 57 119, 126.
3* ADV, p. 43. 4- Getty : GNB, p. 139.
5. Getty ; GNB, p 53, 54
DHYANI AND MORTAL BUDDHAS 75
sented in the Stupa like the other Dhyani Buddhas, but independent
shrines are dedicated to his worship. His worship is always performed
in secret and is not open to those who are not initiated into the mys-
teries of Vajrayana. Vajrasattva is represented in two forms, single
and Yub-yum.
The notable feature of this Dhyani Buddha is that he wears all
ornaments, rich dress and a crown instead of the poor dress of the
other Dhyani Buddhas consisting of three rags (tricivara). Thus
Vajrasattva appears more to be a Bodhisattva than a Dhyani Buddha.
He sits cross-legged in the meditative pose like the other Dhyani
Buddhas, and exhibits no special Mudra. He carries the Vajra in his
right hand with palm upwards against the chest and the Ghanta (Bell) in
the left hand resting against the left thigh. His form is repeatedly
described in Tantric works. jThe description given in the Advaya-
vajrasafigraha is typical and is quoted below :
"Vajrasattvastu Hurhkarajanma suklo dvibhuja ekavaktro vajra-
vajraghantadharo Kasayarasasanrah saradrtuvisuddho Yaralavadyatma-
kah ardharatratah prabhatakalaparyanto Dharmadhatuparanama",
ADV, p. 41.
"Vajrasattva originates from the syllable HUM and is white in
colour. He is two-armed and one-faced and holds in his two
hands the Vajra and Vajra-marked Ghanta. |He represents the as-
tringent taste, the Autumn season, the letters of the alphabet ya,
ra, la, and va, and the part of the night from midnight to day-break.
His second name is Dharmadhatu". \
I When represented singly, he is exhibited before the public. The
Yab"yum form is generally kept" secret. When represented in Yab-
yumV'he is closely associated with his Sakti who is generally known
as Vajrasattvatmika. He carries the Vajra and the Ghanta in the
same manner as when single, but the Sakti holds the Kartri in the
right hand and the Kapala in the left (Figs. 41, 42). *
* He is represented widely in all Buddhist countries of the North.
Some of his single and Yab-yum forms are illustrated here (Figs. 43,44)*
'His white colour suggests that his spiritual sire is Vairocana of
white colour. His position amongst the Dhyani Buddhas is anomalous.
Vajrasattva is widely represented in Tibet l and China f
I. Getty : GNB, p. 6
2; Clark :TLP. II. p. 138.
76 BUDDHIST ICONOGRAPHY
VAJRASATTVATMIKA.
Colour — White Symbol — Kartri and Kapala
Arms — Two
/ As all the Dhyani Buddhas have a Sakti each attached to them,
even so the Sixth Dhyani Buddha Vajrasattva also can claim a
Sakti. Vajrasattvatmika thus is the spiritual consort of the Sixth
Dhyani Buddha Vajrasattva. Hejr Dhyana is rarely found, in.. Tan-
trie literature, but her form can Tie seen from the images where
she is in close embrace with Vajrasattva in Yab-yum. In such cases
she carries the Kartri in the right hand and Kapala in the left. /
GHANTAPANI
Colour — White Symbol — Ghanta
The Sixth Dhyani Buddha Vajrasattva and his consort Vajrasa-
ttvatmika claim Ghantapani as their Bodhisattva. The recognition
symbol of this Bodhisattva is the Ghanta or the Bell Like his
spiritual sire he must be white in colour. Ghantapani is rarely
represented, and his images are very rare in Buddhist countries.
MORTAL BUDDHAS"
Both the Mahayanists and the Hmayanists hold that a Buddha
is one who is endowed with the thirty-two major and eighty mi-
nor auspicious marks known as "external characteristics" as enu-
merated in the Dharmasarhgraha, attributed to Nagarjuna. He must
have in addition, three kinds of mental characteristics, namely, the
ten Balas or forces, eighteen Avenika Dharmas or peculiar proper-
ties, and the four Vaisaradyas or points of self-confidence or
assurance.
The Hmayanists, even in their earlier stages, recognised
four bygone Buddhas, each having a peculiar Bodhi tree.
Mahayanists also give several lists, though not systematically and
thirtyjjwp different names have been recovered. The last seven
Jathagatas are well known, and are designated by the Mah§yani*
sts aT^MTOtlsi or^ Mortal Buddhas. These are, Vipasyin, Sikhi,
Visvabhu, Krakucchanda, Kanakamuni, Kasyapa and Sakyasimha.
The historicity of these Buddhas is still uncertain excepting of course
that of the last, but there are good grounds for thinking that
Kanakamuni and Krakucchanda really w^re^ historical personages*
Attempts have been made to establish a fantastic connection
between the last five Mortal Buddhas and the five Dhyani Buddhas
and their Bodhisattvas by holding that the Divine Bodhisattvas
DHYANI AND MORTAL BUDDHAS 77
discharge their duties of creation through the agency of the five
portal Buddhas. The theory may be current in Tibet ; it may
ingeniously establish a new connection and may find strong support
from scholars, but it is against all Tantric traditions of India.
When represented, the last seven Mortal Buddhas appear all alike ; I
they are of one colour and one form, usually sitting cross-legged,
with the right hand disposed in the Bhumigparsa
touching attitude)", which is^the MudrOpeculiar to Aksobhya and
as^a matter ot t'act, it is not possible to identify a sculpture of
the latter unless it is coloured or if no other identification mark
is present. In paintings, the Mortal Buddhas have -usually a yellow
or golden complexion. The only possible chance of identifying
them is when they appear in groups of seven.1
Sometimes they are represented as standing, in which case they
appear under a distinguishing Bodhi Tree and with a distinguish-
ing Mudra. The Indian Museum image No* B, G, 83 (Fig. 45) is
an image of this kind. It may be noted, however, that Maitreya,
the future Buddha, has been added to this group.
VAJRASANA
Gautama, the last of the group of the seven Mortal Buddhas,
is widely represented both in sculptures and in paintings. His
images date from a period anterior to the birth of Christ and the
fascination of Indian sculptors for Buddha images seems never to
have diminished. Innumerable images of Buddha in innumerable
attitudes and with, innumerable expressions have been discovered
in India, as in those other countries which came under the influ-
ence of Buddhism, Images of Buddha, therefore, are an indepen-
dent study by themselves.
The Sadhanamala furnishes us with several descriptions of Buddha
Vajrasana sitting in the Vajraparyahka attitude, with his right
hand displaying the Bhumisparsa pose. The Dhyana, as given in
one of the Sadhana is quoted below :
"Savyakarena Bhusparsamudram utsahgasthitavasavyahastam kiisaya-
vastravagunthanam mlagauraraktasyamacatur-Maropari visva-padmavaj-
rSvasthitarh santam laksanavyanjanenanvitagatram. Tasya Bhagavato
daksine Maitreya^Bodhisattvam gauram dvibhujarh jatamukutinam
savyakarena camararatnadharinam avasavyena nagakesarapuspacchata^
dharinam, Tatha vamato Lokesvarram suklam daksinakarena cama-
1* Colossal images of the Seven Mortal Buddhas representing them with the Bhu-
mi^parla mudra appear in one of cave temples at Ellora. Fergusson and Burgess: Cave
Templet of India, p. 383.
78 , BUDDHIST ICONOGRAPHY
radhararh vamakarena kamaladhararh Bhagavanmukhavlokanajparau ca
tau bhavayet.
Iti Vajrasanasadhanarh samaptam"
Sadhanamala, p. 24-
"The worshipper should meditate himself as (Vajrasana) who dis*
plays the Bhusparsa Mudra in his right hand while the left rests
on the lap. He is dressed in red garments and sits on the Vajra-
marked double lotus placed on the four Maras of blue, white, red
and green colour. He is peaceful in appearance and his body is
endowed with all the major and minor auspicious marks,
'To the right of the God is Maitreya Bodhisattva who is white,
two^armed, and wears the Jatamukuta (crown of matted hair), and
carries the chowrie-Jewel in the right hand, and the Nagakesara flower
in the left.
"Similarly, to the left of the principal God is Lokesvara of white
complexion, carrying in his right hand the chowrie and the lotus in the
left.
'These two gods should be meditated upon as looking towards the
face of the (principal) god
"Here ends the Sadhana for Vajrasana"
Images of this divinity are found in overwhelming numbers in almost
all Buddhist centres in India. The Indian Museum image (Fig. 46)
is an example of this form of Gautama.
Buddha Sakyasirhha was conceived in another form which was called
by the name of Durgatiparisodhana. This particular form of Sakya*-
simha is described in the Nispannayogavali of Abhayakara Gupta.
DURGATIPARISODHANA.
Colour — Yellow Face— One
Arms — Two Mudra — Dharamacakra
Sakyasimha, the embodiment of Mahavairocana, is the principal deity
in the Durgatiparisodhana Mandala of the Nispannayogavali. He has
been described in a short sentence :
"Cakrasya vedyam visvasarojasthasimhopari snoakyasirhhoBhagavan
Mahavairocanah suvarnavarno dhrtadharmacakramudrah,
"NSP, p. 66.
"On the centre of the wheel on a lion placed on a double lotus sits
the god Sri Sakyasimha, the embodiment of Mahavairocana of golden
yellow colour, dispalying in his two hands the Dharmacakra Mudra".
Nepalese paintings of the deity are available, but sculptures are hot
recorded anywhere, , ^
DHYANI AND MORTAL BUDDHAS 79
MORTAL BUDDHA&AKTIS
Like the Dhyani Buddhas, the Mortal Buddhas have also their res-
pective Buddhasaktis through whom they obtained the seven Mortal
Bodhisattvas. The Buddhasaktis are : —
1. Vipasyanti 4. Kakudvatl
2. SikhimalinI 5. Kanthamalini
3. Visvadhara 6. Mahidhara
7. Yasodhara
Representation of these are not met with anywhere in India. Only
one Statuette of the last Yasodhara is found in China * .
MORTAL BODHISATTVAS
They were brought into existence by their respective Mortal Buddhas
and their Saktis. They are : —
1. Mahamati 4« Sakamangala
2. Ratnadhara 5. Kanakaraja
3. A k a s a g a n j a 6. Dharmadhara
7. A n a n d a L>
The names of Yasodhara and Ananda are familiar names, the former
being the name of Sakyasimha's wife and the latter that of his favourite
disciple.
The relation between the Mortal Buddhas, their Buddhasaktis and
the Bodhisattvas may be thus shown in a tabular form : —
Mortal
Buddha
Mortal
Buddhasakti
Mortal
Bodhisattva
Vipasyi
Visvabhu
Krakucchanda
Kanakamuni
Kasyapa
Sakyasimha
Vipasyanti
SikhimalinI
Visvadhara
Kakudvatl
Kanthamalini
Mahidhara
Yasodhara
Mahamati
Ratnadhara
Akasaganja
Sakamangala
Kanakaraja
Dharmadhara
Ananda N*^,.^-
L Clark: TLP, II, p. 171.
from Nfoal, Vo. If. 163
2* Oldfield : Sketches from
Vw %r*
For the names of the Buddhasaktis see>OidfiftB : Batches
and 185 ff. Vs. \ /
Ni0a/;VoL II. pp. 163 and 185 ffS, Cr^
80 BUDDHIST ICONOGRAPHY
MAITREYA, THE FUTURE BUDDHA.
It would not be out of place to mention here the name of
Maitreya who partakes of the nature of a Mortal Buddha, though
he is not a Buddha yet. He is supposed to be passing the life of
a Bodhisattva in the Tusita heaven, preparatory to his descent to
earth in human form. It is said that he will come to earth full
4000 years after the disappearance of Buddha Gautama for the
deliverance of all sentient beings. Asahga is said to have visited
Maitreya in the Tusita heaven and to have been initiated by him
into the mysteries of Tantra. He is the only Bodhisattva who is
worshipped alike by the Hinayanists and the Mahayanists and his
images can be traced from the Gandhara School down to the
present time/ Hiuen Tsang records the existence of Maitreya in
Udyana (U-chang-na). The sculptor, in order to ascertain his correct
form, is believed to have gone several times to the Tusita heaven
before carving it.
Maitreya may be represented as a standing figure, adorned with
rich ornaments and holding in his right hand the stalk of a lotus
He is distinguished from Padmapani mainly by the figure of a
small Caitya which he bears on his crown. Getty remarks that in
Indian sculpture he shows in his hands the usual Dharmacakramu-
dra ; in the left there is a vase, round, oval or pointed, or there
may be the stems of flowers which support his two characteristic
symbols, the vase and the wheel. Maitreya may also be represen-
ted seated as a Buddha, with legs either interlocked or dangling
down. His colour is yellow, and his images sometimes bear the
figures of the five Dhyani Buddhas, on the aureole behind.
The small Caitya on the crown of Maitreya is said to refer to the
belief that a Stupa in the mount Kukkutapada near Bodh-Gaya
covers a spot where Kasyapa Buddha is lying. When Maitreya
would descend to earth he would go direct to the spot, which would
open by magic, and receive from Kasyapa the garments of a
Buddha.
The Sadhanamala furnishes us with only one description of
Maitreya as a principal divinity and several others in which he is
represented as a minor god. When as a minor god, he accompa-
nies others, he generally carries the chowrie in the right hand and
the Nagakesara flower in the left. The Sadhana describing the
procedure of his worship has Dhyana :
DHYAN1 AND MORTAL BUDDHAS 81
Pita* MamYkaraparina tarn visvakamalasthitam trimukham
caturbhujarh krsnasukladaksinavamamukham suvarnagauram
sattvaparyahkinam vyakhyanamudradharakaradvayam aparadaksi*
navamabhujabhyam varadapuspitanagakesaramanjarldharam
nanalahka radharam atmanam Maitreyarupam aiambya
Maitreyasadhanam. Sadhanamala, p. 560.
"The worshipper should meditate himself as Maitreya who ori-
ginates from the yellow germ syllable "Maim". He is three-faced
three-eyed, and four-armed. His right and left faces respectively
are of blue and white colour. His complexion is yellow like that
of gold. He sits in the Paryanka attitude on an animal His two
hands are engaged in exhibiting the Vyakhyana Mudra and he
shows in his other right and left hands the Varada Mudra and a
full-blown Nagakesara flower with its branches He is decked in many
ornaments. Meditating thus ..
This is the Sadhana for Maitreya.''
A Nepalese drawing (Fig. 47) represents 'this form of Maitreya which
follows the Dhyana in all .details except the vehicle. Maitreya is
popular in Tibet1 and his images are found in abundance in China1',
1. Gordon : ITL, pp. 104, 107; Getty : GNB, pp. 22, 23.
2. Clark : TLP, II, pp. 1, 9, 59, 143, 195.
11
CHAPTER II
THE BODHISATTVAS
I The term Bodhisattva consists of two words Bodhi (enlightenrrent)
and Sattva (essence) and they represent a class of deities who derive
their origin from the five Dhyani Buddhas representing the five primor-
dial elements. The Bodhisattvas 'thus connote all the ryale deities
of the Buddhist pantheon, while their female counterparts are known
by the generic name of Saktis. These Saktis should be distinguished
from the Buddhasaktis who are fhe queens of the five Dhyani Buddhas-.
The Bodhisattvas are sometimes represented in the company ot their
Saktis who are seated either beside them or on their laps or in close
embrace. Although all the male deities of the Buddhist pantheon can
be called the Bodhisattvas, they are ncveitheless separated in icono-
graphic studies as an independent group. Thus, in the Nispannayogavali,
three distinct groups of sixteen Bodhisattvas are mentioned and it is
necessary to refer to them here along with their iconography as found
in this excellent book. Amongst the Bodhisattvas, Avalokitesvara
ai^Maniyin are the chief and have wide popularity not only in this
country, but also in other Buddhist countries such as Tibet, China and
Japan.! As the images of Avalokitesvara and Manjusri are found in
<rlt~ these countries in large numbers and in a wide variety of forms
they require obviously a separate treatment in subsequent chapters.
The Nispannayogavall of Mahapandita Abhayakara Gupta men-
tions altogether ihree sets1 of sixteen Bodhisattvas. Some names
occur in one or two or all the three lists, which when analysed,
give an account of twenty-five Bodhisattvas in all. These three
lists are headed in one by Samantabhadra and in two others by
Maitreya, the Future Buddha. Images of many of these Bodhisa-
ttvas are found in India, but their number is the largest in China
as would be seen in the Two Lamaistic Pantheons by Walter
Eugene Clark. The three lists as given by Abhayakara Gupta are
stated below for facility of comparison, before the Bodhisattvas
are actually described with the help of the Dlvyanas.
List No. 1 Samantabhadra, Aksavamati, Ksirigarbha, Akasagarbha,
Ganganaganja, Ratnapani, Sagaramati, Vajragarbha, Avalokitesvara,
Mahasthamaprapta, Chandraprabha, Jalimprabha, Amitaprabha, Pra-
tibhankuta, Sarvasokatamonirghatamati, Sarvanivaranaviskambhin.
1. NSP, pp. 46, 50, 67.
THE BODHISATTVAS 83
List No. 2 Maitreya, Manjusri, Gandhahasti, Jnanaketu, Bhadra-
pala, Sagaramati, Aksayamati, Pratibhanakuta, Mahasthamaprapta,
Sarvapayanjaha, Sarvasokatamonirghatamati, Jaliniprabha, Candrapra-
bha, Amitaprabha, Gaganaganja, Sarvanivaranaviskambhin.
List No. 3 Maitreya, Amoghadarsin, Apayanjaha-Saivapayanjaha,
Sarvasokatamonirghatamati, Gandhahasti, Surangama, Gaganaganja,
Jnanaketu, Amitaprabha, Candraprabha, Bhadrapala, Jaliniprabha,
Vajragarbha, Aksayamati, Pratibhanakuta, Samantabhadra.
1. SAMANTABHADRA1
Colour — Yellow and Blue Symbol— Jewel
/ The Bodhisattva Samantabhadra (Universal Goodness) is important
as the leader of the sixteen Bodhisattvas and thus is not a whit less
important than the Future Buddha Maitreya who is at the head of the
two other lists of Bodhisattvas. Samantabhadra 's popularity is
further exemplified by frequent mention of his name in the Nispanna*
yogavali. Samantabhadra is popular both in Tibet and China where
his images are frequent and numerous.
/ He is described several times in the Nispannayogavall and in several
places his form is identical with that of his sire. But there are places
where his independent forms are described which are important for
the purpose of iconographic studies. These are mentioned here./
In the Dharmadhatuvagisvara Mandala Samantabhadra is described
as follows :
Samantebhadrah pltahsavyenavarado vamena utpalakhadgadharah.
NSP, p. 58.
*' Samantabhadra is yellow in colour, shows the Varada (boon) in the
right Rand and holds on the left the sword on lotus." /
| In the Durgatiparisodhana Mandala he is described as :/
Samantabhadrah suvarnavarno ratnamanjaribhrddaksinapanih
katisthavamamustih. NSP, p. 67.
"Samantabhadra is of golden colour, holds a bunch of jewels in the
right hand", while the left rests on the hip,',' f
I Once again Samantabhadra is described in the Kalacakra Mandala.
There he is described as : /
Samantabhadrah nllah savyairvajrakartriparasun vamah>ghanta>
kapala*Brahmasirarhsi dadhanah. Brahmasirahsthane, utpalam va*
Dharmavajrasamapanno'yam. NSP, p. 85.
* Samantabhadra is blue in colour and holds in his three right hands
the Vajra, the Kartri and the Para su, and in the three left hands the
1. For a full description see Hetty : GNB, p. 47, f.
84 BUDDHIST ICONOGRAPHY
Ghanta, the Kapala and the severed head of Brahma. Sometimes the
head of Brahma is replaced by the Utpala. He is embraced by his
consort Dharmavajra/' I
1 Although images of Samantabhadra are not rare in India, the bulk
of his images are to be met with in China, At least five images of the
Bodhisattva are found in Peiping alone. l\ Fig. 48 is a Nepalese drawing
of the deity.
I Samantabhadra is popular in the Sadhanamala, although only
one description of his is available. In the Lokanatha Sadhana he is
described as : /
Samantabhadrah pitabho ratnotpalavarapradah
Sadhanamala, p. 49
"Samantabhadra is of yellowish colour, holds the jewel on a lotus and
exhibits the Varada Mudra in his two hands." /
fo 2. AKSAYAMATI
\: Colour — Yellow Symbol — Sword or Jar
IThe second Bodhisattva is Aksayamati (Indestructible mind) and
his name is widely known in the Buddhist ritualistic literature. Aksa-
yamati is described thrice in the Nispannayogavall.^
In the Manjuvajra Mandala Aksayamati is described as :
Aksayamatih suvarnavarno vamamustim hrdyavasthapya savyena
varadamudrah. NSP, p. 50.
/ ''Aksyamati is of golden complexion, and shows the clenched
left hand against the chest, and exhibits the Varada mudra in
the right/' I
/ In the Dharmadhatuvagisvara Mandala, he is described somewhat
differently as :/
Aksayamatih pitah savyena khadgam vamenaabhayakamalam
bibharti. NSP, p 58.
/ "Aksayamati is yellow in colour and flourishes the sword in
the right hand, while he exhibits in the left hand the Abhaya
rnudra and the Kamala." j
I A third description of this Bodhisattva occurs* in the Durgati-
parisodhana Mandala and he is described in the following words :
Aksayamatih sito h^stabhyarh jnanamrtakalasadharl
NSP, p. 67.
/ "Aksayamati is white in colour and with his two hands holds
the bowl containing the nectar of knowledge." /
1. Clark : TLP, II, pp. 8, 9, 52, 133, 274.
THE BODHISATTVAS 85
( A Chinese statuette1 depicts him in the form of the Dhyani
Buddha Amoghasiddhi with the right hand raised against the chest
in the Abhayamudra and the left resting on the lap. | Fig. 49 is a
Nepalese drawing of the deity. Fig. 50 illustrates a Chinese
specimen.
3. KSITIGARBHA *
Colour — Yellow or Green Symbol — Kalpa Tree on Jar
The third Bodhisattva Ksitigarbha (matrix of the earth) is rarely
represented. He is described twice in the Nispannayogavali. In
one, he is identical with his sire Vairocana with the Cakra symbol.
In another, Ksitigarbha is described in the following words :
Ksitigarbhah pito daksinena krtabhusparso vamenabjastha*kalpa'
drumadharah. ' NSP, p. 58.
"Ksitigarbha is yellow in colour, shows the earth -touching
mudra in the right hand, and a lotus with the wish-giving tree
(kalpavrksa) in the left."
Ksitigarbha is illustrated four times in the Peiping collection in
different forms. y He is also found in Tibet.1 Fig. 51 is a Nepalese
drawing of the deity.
Under Lokanatha Sadhana in the Sadhanamala a further des-
cription occurs of the Bodhisattva Ksitigarbha. Here he is des-
cribed in verse as :
Ksitigarbhah syamavarnah kalasam cabhayaiii tatha.
Sadhanamala, p. 49.
"Ksitigarbha is of green colour, and shows in his two hands
the jar and the Abhaya mudra/'
4. AKASAGARBHA'
Colour — Green Symbol — Jewel
The Bodhisattva Akasagarbha (essence of ether) is also known
by the name of Khagarbha, the words "Kha" and "Akasa" sig-
nify the same thing "Sky" Akasagarbha is the Bodhisattva who
lives in the womb of the sky.
Akasagarbha is described in the Dharmadhatuvagisvara Mandala
of the Nispannayogavali. His form is depicted in the following
1. Clark: TLP, II, p. 132.
2« For further information see Getty : GNB. p. 90, et, seq.
3. Clark : TLP, II. pp. 8. 9, 56, 274.
4. Gordon : ITL, p. 60.
5. For futher information see Getty : GNB, p. 101.
60 BUDDHIST ICONOGRAPHY
words :
Akasagarbhah syamah savyena sarvaratnavarsl \amena ciritamani-
bbrt. NSP, p 58.
"Akasagarbha is green in complexion, with the right hands
he showers all kind of jewels and with the left, he holds the
Cintamani (wish-giving) jewel."
Altogether four illustrations of Akasagarbha appear in the two
Lamaistic Pantheons. In China, he is represented in three distinct
forms.1 Two statuettes show the lotus in the right hand and the
Varada mudra in the left. The third is three-faced and Mx-armed
while the fourth shows the jewel in the right hand and the Varada
mudra with the jewel in the left. Fig. 52 is a Ncpalcse drawing of
the deity.
Akasagarbha is recognized by his second name of Khagarbba
in the Sa llrmmala and under the Lokanatha Sadhana his form is
described as follows :
Khagarlho nabhahsyamabho cintamanivarapradah.
Sadhanamala, p. 49
"Khagarbha is green as the sky, holds the Cintamani jewel in'
one hand and exhibits the Varada mudra in the other."
5. GAGANAGANJA
Colour — Yellow or Red Symbol — Kalpa Tree
/ The Bodhtsattva Gaganaganja is described four times in the
Nispannayogavall. His colour is yellow showing his affiliation to
Ratnasambhavh of yellow colour with the Varada mudra and the jewel.
In the Manjuvajra Mandala he is described as:/
Gaganaganjah suvarnavarno vame vajramustim garvena katyam
nyasya daksinam gagane bhramayan. NSP, p. 50*
/ "Gaganaganja is of golden yellow colour. In the left he holds
the Vajra with in clenched hand which is proudly placed on the hip,
while the right is flourished upwards in the sky." *
/ The Dharmadhatuvagisvara Mandala describes him with the follow-
ing words ; '
Gaganaganjah pirah savyena Cintamanibhrd-vamena bhadraghata-
valambitakalpavrksam dadhanab. NSP, p. 58.
I "Gaganaganja is yellow and shows the Cintamani jewel in the
right hand. In the left, he holds the auspicious bowl from which
is suspended a Kalpa (wish-giving) tree." I
1. Clark : TLP, II. pp. 8, 9, 56, 273. Also NSP. introduction p 25.
TH£ BODHISATIVAS S?
/ A third description of Gaganaganja occurs in the Durgatipari*
sodhani Mandala. There his form is as under: /
Gaganagnnjah sitapitah savyena padmasthadharmaganjadhanilh
katisthdvamahastah. NSP, p. 67
I "Gaganaganja is whitish yellow in complexion. He holds the
Dharmaganja on lotus in the right hand, while his left hand rests on the
hip/ /
/ Ga^anaganja is also represented in the same form as his sire Ratna-
sambhiua of yellow colour. In the Two Larnaistic Pantheons Gagana-
gnnja occurs only once and he is of the same form as his sire Ratnasam'
bhava,) Fig. 53 is a Nepalese drawing of the Bodhisattva.
I Bodhisattva Gaganaganja is not unknown to the SaJhanamala. In
the Loknatha Sadhana, a iJhort description of the deity is available. It
runs as follows : (
Gaganaganjo raktavarno mlotpalavarapradah
. Sadhanumala, p. 49.
Gaganaganja of red colour, holds the blue lotus and exhibits the
Varda rnudra in his two hands." I
6. RATNAPAN1 2
Colour—Green Symbol— Jewel or the Moon
The Bodhisattva Ratnapani (Jewel bearer) is described only once in
the Dharmadhatuvaglsvara Mandala of the Nispannayogavall. Here he
is described as :
Ratanapanih syamo daksinapanina ratnam vamenabjastha-candra-
mandalam bibhranh. NSP, p> 58,
"Ratnapani is green in colour, holds the jewel in the right hand, and
the disc of the moon on lotus in the left hand/'
He is the Bodhisattva of the Dhyani Buddha RatnasamHrava and as
such, he is sometimes represented in Nepal and Tibet His image is not
found in the Chinese collection. Fig. 54 is a Nepalese drawing of the
Bodhisttva.
7. SAGARAMATI
Colour— White Symbol— Sea Wave or Conch
Bodhisattva Sagaramati ( ocean mind ) is twice described in the
Nispannayogavali. In the Manjuvajra Mandala, he is described as:
Sagaramatih sito hastadvayaprasaritah sarvahgulibhistaran^abhinayi
NSP, p. 50.
1, Clark : TLP, II. p. 136.
2. For futher information see Getty t GNB, p, 53, $4.
33 BUDDHIST ICONOGRAPHY
"Sagaramati is white in colour with both hands outstretched and the
fingers displaying the sea-waves. "
In the Dharmadhatuvagisvara Mandala he is once again described as :
Sagaramatih sitah savyena samkhamvamena vajrakhadgam dadhanah.
" NSP, p. 58.
"Sagaramati is white in colour, holds in the right hand the conch,
and in the left a sword marked with a Vajra."
Fig. 55 is a Nepalese drawing of Sagaramati.
8. VAJRAGARBHA
Colour — Blue or Bluish White Symbol— juMbdonuiiuKa Scripture
' The Bodhisattva Vajragarbha (matrix of Thunderbolt) is described
twice in the NispannayogavalL In the Dharmadhatuvagisvara Mandala
he is described as : I
Vajragarbho mlotpaladalavarno daksmena vajram vamena dasabhii'
mikapustakadharah. NSP, p. 58.
''Vajragarbha is of the colour of the petal of a blue lotus and holds in the
right hand the Vajra and in the left the book called the Dasabhumika."
| In the Durgatiparisodhana Mandala Vajragarbha's form is depicted
thus :
Vajragabho mlasitah savyena mlotpaladharah katinyastavamamustih.
NSP, p. 67. '
"Vajragarbha is of bluish white colour and holds the blue lotus in the
right hand while the clenched left rests on the hip." *
His images are rare, and he is not represented in the Chinese collec-
tion. Fig. 56 is a Nepalese drawing of Vajragarbha.
9. AVALOKITESVARA
(Colour — White Symbol — Lotus
The Bodhisattva Avalokitesvara (The Watchful Lord) also called
Padmapani (Lotus bearer) is the spiritual son of^ the Dhyani Buddha
Amitabha. He is one of the most popular Bodhisattvas <pf the Buddhist
Pantheon having as many as 108 different forms. A separate chapter
is devoted to this Bodhisattva in this work. Here only his special form
that occurs in the Nispannayogavali in the list of Sixteen Bodhisattvas
will be referred to. *
Avalokitesvara is described in the Dharmadhatuvagisvara Mandala as:
Avalokitesvarah subhrah savyena varado vamena sarojadharah.
NSP, p. 58.
"Avalokitesvara is white in colour ; he displays the Varada mudra in
the right hand and in his left, he holds the lotus,"
THE BODHISATTVAS 89
Avalokitesvara is four times illustrated in the Two Lamaistic
Pantheons ]« Fig. 57 is a Nepalese drawing of Avalokitesvara,
10. MAHASTHAMAPRAPTA
Colour — White or Yellow Symbol — Six Lotuses or Sword
The Bodhisattva Mahasthamaprapta (one who has obtained great
strength) is described twice in the Nispannayogavali. In the Manjuvajra-
Mandala he is described us :
Mahasthamapraptah sito vamena sat-vikasitapadmadhari savyena
varadah. NSP, p. 50.
"Mahasthamaprapta is white in colour and holds in his left hand a
bunch of six full-blown lotuses, while the right displays the Varada
mudra."
In the Dharmadhatuvaglsvara Mandala, he is once again described
with the following words :
Mahasthamapraptah pltah savyena khadgam vamena padmam
dadhanah. NSP. p. 58
''Mahasthamaprapta is yellow in colour. He holds the sword in the
right hand, and the lotus in the left/'
In the Chinese collection, Mahasthamaprapta occurs^ only once1'.
Fij?. 58 is a Nepalese drawing of Mahasthamaprapta.
11. CANDRAPRABHA
r — White Symbol — Moon on Lotus
I Bodhisattva Candraprabha (Light of the Moon) is described thrice
in the NispannayogavalL In the Manjuvajra Mandala he is described as :•
Candraprabhah candravamo vamenotpalastha'candramandaladharl
daksinena varadah NSP. p. 50.
,' "Candraprabha is of white colour like the moon. He holds in his left
hand the disc of the moon on a lotus, and displays the Varada mudra
in his right. "f
\ Candraprabha is described in the Dharmadhatuvaglsvara Mandala in
the following words : \
Candraprabhah subhrah savyena vajracakram vamena padmastha^
candramandalam dhatte. NSP. p. 58.
I "Candraprabha is white in colour. He holds in his right hand the
discus marked with a Vajra, and in the left the disc of the moon on
a lotus." i
1. Clark : TLP, Vol. II, p. 7, 11, 161, 195. For further information on Avaloki-
te^vara and his forms in Tibet, China and Japan, see Getty : GNB, p. 55 f.
2* Clark: TLP, II. p 160. For further information on the deity see Getty :
GNB, p. 115. ,
12
90 BUDDHIST ICONOGRAPHY
» In the Durgatiparisodhana Mandala he is described differently as
follows : I
Candraprabhah subhrah savyena padmasthacandrabimbam bibhri'
nah katisthavamamustih. NSP. p. 67
I "Candraprabha is white in colour. He holds the moon on a lotus in
the tight hand while the clenched left rests on the hip." 1
Thus the recognition symbol of Candraprabha is the moon on lotus.
In the Chinese collection Candraprabha occurs only once1. Fig, 59 is
a Nepalese drawing of Candraprabha
^ 12. JALINTPRABHA
Colours-Red Symbol — Sun*disc
»The Bodhisattva Jaliniprabha (Light of the Sun) is also known by
the name of Suryaprabha and he is described three times in the Nispan^
nayogavali. In the Manjuvajra Mandala he is described as : ]
Jaliniprabho rakto vamenotpalastha-suryamandaladhari savyena
varadah, NSP. p. 50.
i "Jaliniprabha is of red colour. He holds the disc of the sun on a
lotus in the left hand while the right displays the Varada mudrS.,
I Jalimprabha is again described in the Dharmadhatuvaglsvara
Mandala as : 1
Jalimprabhah sitaraktah savyenasirh vamenabjasthasuryarh'
NSP. p. 58.
1 ' Jalimprabha is whitish red in complexion. He holds the sword in
the right hand and the disc of the sun on a lotus in the left hand/'
i In the Durgatiparisodhana Mandala he is described further as :J
Jalimprabho raktah savyena vajrapanjararh bibhranah katisthavam-
amustih. NSP. p. 67,
| *'Jaliniprabha ^s red in colour. He holds the Vajrapanjara (Vajra
marked cage) in the right hand while the clenched left rests on the hip.)'
H The symbol of Jaliniprabha is the disc of the sun and his red
colour suggests that he is the spiritual son of the Dhyani Buddha
Amitabha. In the Chinese collection he is represented as Amitabha2J
Fig. 60 is a Nepalese drawing of Jalimprabha.
13. AMITAPRABHA
Colour — White or Red Symbol — Jar
' The Bodhisattva Amitaprabha ( Boundless Light) also spelt as
Amrtaprabha (Light of Nectar) is described t^jice in the Nispannayoga-
1. Clatk : TLP, II. p. 147. ~"
2. Clark : TLP, II, p, 132
THE BODHISATTVAS 91
t
vali. Twice he is mentioned as of white colour and only once as red.
It thus appears that Amitaprabha should belong to the family of
Vairocana because of his white colour. His spiritual father will be
Amitabha when he is red in colour, f
j In the Durgatiparisodhana Mandala, Amrtaprabha is described as : I
Amrtaprabhah subhrah mukutoparyamrtakalasabhrtsavyakarah katis*
thavamamustih. NSP. p. 67.
t "Amrtaprabha is white in colour. In his right hand he holds the jar
of nectar on the crown of his head. His clenched left hand rests on
the hip."|
| In the Manjuvajra Mandala he is once again described as :<
Amitaprabhah raktah hastadvayena abhisekakalasadharl,
NSP. p. 50.
| " Amitaprabha is of red colour and holds in his two hands the jar
required in the bath of initiation. '|
I In the Dharmadhatuvaglsvara Mandala a further description of the
deity appears :l
Amitaprabhah sitah savyena visvapadmarh vamena-
bjasthakalasam bibhranah. NSP. p. 59.
| "Amitaprabha it> of white colour. With the right hand he holds the
double lotus and with the left hand a jar on lotus. "I
| The jar of consecration is thus the recognition symbol of the
Bodhisattva.i
Fig. 61 is an illustration of a Nepalese drawing of Amitaprabha.
14. PRATIBHANAKUTA
Colour — Green, Yellow or Red Symbol — Whip
* The Bodhisattva Pratibhanakuta is described thrice in the Nispanna^
yogavali. In one he is green in colour, in the second he is yellow and
in the third red, thus affiliating himself to the families of Amoghasiddhi,
Ratnasambhava and Amitabha./
( In the Manjuvajra Mandala he is described as : I
Pratibhanakutah syama utsangavamamustir-daksinena
chotikapradah. . NSP. p. 50.
("Pratibhanakuta is of green colour. His clenched left hand is placed
on the lap, while he flourishes the whip with the right hand."/
i His description in the Dharmadhatuvaglsvara Mandala is as follows ;
Pratibhanakutah pito daksinena chotikam vamena
padmasthakrpanam dhatte. NSP, p. 59.
/ ^Pratibhanakuta is of yellow colour. With the right hand he holds
the whip and with the left, a sword placed on lotus." /
92 BUDDHIST ICONOGRAPHY
J
The Durgatiparisodhana Mandala describes his form with the follo-
wing words : f
Pratibhanakuto raktah savyenabjasthamukutadharl
katisthavamamustih. NSP, p. 67.
' "Pratibhanakuta is red in complexion. With the right hand he holds
the crown placed on a lotus, while his clenched left hand rests on
the hip."/
He is not represented in the Chinese collection, nor his images are
found in India. Fig. 62 is a Nepalese drawing of Pratibhanakuta,
15. SARVASOKATAMONIRGHATAMATI
Colour— Whitish Yellow. Yellow or Red Symbol— Staff
I' This Bodhisattva who destroys all sorrows and inertia is described
thrice in the Nispannayogavali He is given twice the yellow colour or
the colour of gold or whitish yellow and once the red. Thus the Bodhi-
sattva undoubtedly belongs to the family of the Dhyani Buddha Ratna-
sambhava, although red suggests Amitabha also. *
d The Durgatiparisodhana Mandala describes him as :|
Sarvasokatamonirghatamatih sitapltamisravarnah
dandabhrtsavyakarah katisthavamamustih. NSP. p. 66.
I r< Sarvasokatamonirghatamati is of mixed white and yellow colour.
With his right hand he holds the staff while his clenched left hand
rests on the hip.5' 1
I The Manjuvajra Mandala describes him with the following words):
Sarvasokatamonirghatamatih kanakakantih
hastadvayasamputena praharabhinayi. NSP. p. 50.
* "Sarvasokatamonirghatamati is of golden complexion. With his two
hands joined palm to palm, he displays the attitude of striking."!
, | In the Dharmadhatuvagisvara Mandala his description is as undetfy
Sarvasokatamonirghatamatih kurhkumavarnah savyena
pancasucikakulisam vamena saktim dadhanah. fel $P, p. 59.
| Sarvasokamonirghatamati is of the red colour of Kumkuma
(vermillion). With his right hand he holds the Vajra with five thongs
and with the left, the Sakti ( javelin )J t
In the Chinese collection, this Bodhisattva is illustrated twice
as Tamodghatamati and as Sokanirghatamati1. Fig. 63 illustrates a
Nepalese drawing of Sarvasokatamonirghatamati.
16. SARVANIVARANAVISKAMBHIN
Colour— White or Blue Symbol— Sword and Book
Sarvanivaranaviskambhin is the Bodhisattva who is the effacer
1. Clark: TLP, II, pp. 192, 135.
THE BODHISATTVAS 93
of all sins. Two independent forms of this Bodhisattva are described
in the Nispannayogavall. His colour is either blue or white and
thus he is the spiritual son of Aksobhya in one psychic school
and of Vatrocana in another.
The Manjuvajra Mandala describes him as :
Sarvanivaranaviskambhl mlah suklo va vamena bhusparsl daksine
mustitarjanyangusthau sammllya prasamabhinayi. NSP. p. 50.
"Sarvanivaranaviskambhl is of either blue or white colour. With
the left hand he displays the Bhusparsa (earth-touching) mudra ; with
the thumb\ind the index finger joined together in the clenched
right hand he displays the act of pacification."
In the Dharmadhatuvagisvara Mandala he is described in the follow-
ing words :
Sarvanivaranaviskambhl mlah krpanabhrtsavyapanih vamena visva-
vajrankapatakadharah. NSP, p. 59.
"Sarvanivaranaviskambhl is blue in colour. With his right hand
he holds the sword and with the left the banner marked with a
double thunderbolt/'
This Bodhisattva is also known by his shorter name of Viskambhin,
and his statuettes occur at least four times in the Chinese collection1.
He is popular also in Tibet-* Fig. 64 is a Nepalese drawing of the
Bodhisattva.
This Bodhisattva under his shorter name Viskambhin appears
also in the Sadhanamala. In the Lokanathasadhana his description
is as under :
Viskambhl tu ksaravarno ratnottamavarapradah
Sadhanamala, p. 50.
" Viskambhin is of the colour of ash, and holds the excellent jewel
and the Varada mudra in his two hands." /
I* 17. MAITREYA ^
Colour — Golden Yellow Symbol — Nagakesara Flower
] The Bodhisattva Maitreya who is supposed to be waiting in the
Tusita heaven in order to come down to earth as the Future Buddha
is described several times in the Nispamiayogavali Maitreya heads
the list of Bodhisattvas in the Manjuvajra Mandala. Although he
takes the form of his spiritual sires Vairocana and Aksobhya two
of his independent forms are nevertheless available, /
[ In the Manjuvajra Mandala he is described as : /
L Clark : TLP, II, pp. 7, Jl, 52, 274
2. Gordon : ITL, p* 104 ; Getty : GNB, p. 107.
94 BUDDHIST ICONOGRAPHY
Maitreyah suvarnavarno dvabhyam krtadharmadesanamudro varada-
savyakaro vamena sapuspanagakesarapallavadharah. NSP. p. 50
( "Maitreya is of golden colour. With the two principal hands
he displays the Dharmacakra mudra. The other two hands show
the Varada mudra in the right and the twig of a Nagakesara with
flower in the left."/
I In the Durgatiparisodhana Mandala his description is as under : /
Maitreyah pitah savyakarena nagakesarakusumarh vamena kundirh
dadhanah. ' ' " NSP. p. 66.
I "Maitreya is yellow in colour. He holds in his right hand the
flower of Nagakesara and with the left the mendicant bowl/'/
/ In the Chinese collection his statuettes occur at least six times
and he is variously represented1. The Nagakessra flower is his chief
recognition symbol both in China and in India. He is found also
in Tibet"/ Fig. 65 is a Nepalese drawing of the Bodhisattva.
/ In the Sadhanamala his description is simple : /
Maitreyah pitavarnasca nagapuspavarapradah. Sadhanamala, p. 49.
' "Maitreya is yellow in colour and shows the Naga flower and the
Varada mudra/'/
18 MANJUSRI~> V
Colour — Golden Symbol — Sword and Book
Like Avalokitesvara Manjusri is worshipped in all Buddhist coun^
tries and has a variety of forms. Manjusri has several names such
as Manjuvajra, Manjughosa, Dharmadhatuvagisvara and so forth.
His wide variety of forms, and his legendary origin deserve a separate
treatment in a later chapter.
As one of the sixteen Bodhisattvas Manjusri is taken as second
in the group headed by Maitreya. Manjusri does not find mention
in the list headed by Samantabhadta.
In the Manjuvajra Mandala Manjusri comes as a Bodhisattva in
the third circle of deities surrounding the principal god Manjuvajra
who is represented along with his Prajna or female counterpart.
According to Nispannayogavall, Manjusri should have the same for An
as the principal deity but he should have no Prajna,
Thus the form of Manjusri will be of the following description :
Pltanllasuklasavyetaravaktrah sadbhujo daksinaih khadgavarada-
banan vamaih prajnaparamitapustakanllabjadhanurhsi bibhranah.
__ * NSP. p." 48.
1. Clark: TLP, II, 7, 9, 59, 143. 195, 202 *
2. Gordon : H L, p. 104, 107
3. For a detailed account of the legendary origin of the deity and his forms in
Tibet, China and Japan. See Getty : GNB. pp. 112, 113
THE BODHISATTVAS 95
"Manjusri is three faced, with the three faces of yellow, blue and
white colour. He is endowed with six arms ; in his three right hands
he holds the sword, Varada mudra and the arrow, and in the three
left shows the Prajnaparamita book, the blue lotus and the bow."
Next to Avalokitesvara, Manjusri is important in the Buddhist
pantheon as the God of Learning with the sword for destroying
ignorance and the book of transcendental wisdom, His images are
numerous, and the Chinese collection presents no less than five
different statuettes showing his great popularity in China1, Fig 66
illustrates a Nepalese drawing of the Bodhisattva,
Manjusri as one of the eight Bodhisattvas is recognised by the
favourite name of Manjughosa (soft voice) and under this name he
is described in the Lokanathasadhana of the Sadhanamala The
text is :
Manjughosah kanakabhah khadgapustakadharakah*
Sadhanamala, p. 49.
"Manjughosa is of golden colour and he holds in his two hands
the sword and the book.0
19. GANDHAHASTI
/I
Colour— Green or Whitish Green
Symbol — Elephant's Trunk or Conch
1 The Bodhisattva Gandhahasti is mentioned in the Nispannayogavali
as belonging to the group of sixteen Bodhisattvas headed by Maitreya
and is described in two independent forms. In one prominence is given
to the word 'Hasti' and in the other to 'Gandha'. '
t In the Manjuvajra Mandala he is described as follows : /
Gandhastih syamo vamena kamalasthahastikaradhari
savye varadah. NSP. p. 50.
/ ''Gandhahasti is green in colour and holds in the left hand the trunk
of an elephant on a lotus. The right hand exhibits the Varada
mudra." /
| In the Durgatiparisodhana Mandala on the other hand the Bodhisatt>
va is described somewhat differently as -J
Gandhahastih sitasyamah savyena gandhasarhkhadharah
katisthavamamustih. NSP, p. 66*
I "Gandhahasti is whitish green in colour. He holds in his right hand
the conch containing sandal paste. The clenched left is placed on
the hip." I
1, Clark: TLP, II. pp. 7, 11, 53, 198 199 ~
96 BUDDHIST ICONOGRAPHY
1 This Bodhisattva is represented only once in the Chinese collection.1
His images are very rare. / Fig. 67 illustrates a Nepalese drawing of
the Bodhisattva.
20. JNANAKETU
Colour— ^llow or Blue Symbol -Flag with Cintamani jewel
u\
I The Bodhisattva Jnanaketu is mentioned as one ol the sixteen
Bodhisattvas under the leadership of Maitreya. Two independent
forms of his are described in the Nispannayogavall. /
( In the Manjuvajra Mandala he is described as : /
Jnanaketuh plto vamena cintamanidhvajadharl
savyena varadah. NSP. p. 50.
I "Jnanaketu is yellow in colour. He holds in his right hand the flag
marked with the Cintamani jewel. The left hand displays the Varada
mudra " /
£ In the Durgatiparisodhana Mimdala he is described somewhat differ^
ently as : t
Jnanaketu nilah cintamanidhvajabhrddaksinapanih
katisthavamamustih. . NSP. p. 67.
I **Jnanaketu is blue in colour. He hold& in his right hand the flag
marked with the Cintamani jewel. The clenched left hand rests on
the hip." /
I Jnanakaketu occurs only once in the Chinese collection, where his
form is identical with his sire Ratnasambhava L'| Fig. 68 is a Nepalese
drawing of the deity.
21. BHADRAPALA
Colour — Red or White Symbol — Jewel.
1»
The name of Bhadrapala occurs in the second list of sixteen Bodhis-
attvas headed by Maitreya. At least two independent forms of this
Bodhisattva are to be found in the Nispannayogavall. / £ j
i In the Manjuvajra Mandala his form is described with the following
words : i
Bhadrapalo raktavarno vamena ratnabhrd^daksinena varadah."
. " ' ' NSP. p. 50.
/ Bhadrapala is of red colour. He holds in his left hand the jewel,
while the right displays the Varada mudra." J
I In the Durgatiparisodhana Mandala again he is described Vsomewhat
differently as : /
Bhadrapalah subhrah savyena sajjvalaratnadhari
katisthavamamustih. NSP, p. 67
1, Clark ; TLP, II, p. 135.
2. Clark : TLP, II, p. 146,
THE BODHISATTVAS 97
I "Bhadrapala is white in colour. He holds in his right hand the
glistening jewel, while his clenched left hand rests on the hip " /
t Bhadrapala is represented only once in the Chinese collection and
there his form is identical with that of his sire Amitabha */. Fig, 69
illustrates a Nepalese drawing of Bhadrapala,
H 22. SARVAPAYANJAHA.
Colour — White Symbol — Act of removing sin or goad.
« Bodhisattva Sarvapayanjaha (Remover of all miseries) is also known
by his shorter name of Apayanjaha and is described twice in the
Nispannayogavali in two independent forms. I
( In the Manjuvajramandala this interesting Bodhisattva is described
as : /
Sarvapayanjahah suklo hastadvayena papaksepanabhinayl.
' NSP. p. 50.
v "Sarvapayanjaha is white in colour. With his two hands he displays
the act of removing all sins." /
(.In the Durgatiparisodhanamandala he is described as Apayanjaha
with the following words : /
"Apayanjahah sveto'nkusabhrtkaradvayah. NSP. p. 66.
L" Apayanjaha is of white colour. With both hands he carries the
Ahkusa (goad)/' /
I He is represented twice in the Chinese collection. In one he is
identical with his spiritual sire Aksobhya with the Bhusparsa mudra
and in another his right hand with open palm rests against the chest
while the left shows the act of forbidding. Perhaps this attitude is
identical with the act of removing sin |y. Fig. 70 is a Nepalese
drawing of tjae deity. Fig. 71 illustrates his Chinese stautette.
% S 23. AMOGHADARSIN <</
Colour — Yellow Symbol — Lotus
1 The name of Bodhisattva Amoghadarsin appears in the third list of
sixteen Bodhisattvas headed by Maitreya in the Nispannayogavali. The
Durgatiparisodhanamandala contains the only one description as
available in the work.- There his form is described in the following
words : \
, AmoghadarsI pltah sanetrambhojabhrd*daksinakarah
katisthavamamu^tih. NSP. p. 66,
1. Clark : TLP, II, p. 147- - • , j.
2, Clark: TLP, II, pp. 143, 169.
13
98 BUDDHIST ICONOGRAPHY
' "Amoghadarsi is yellow in colour. In his right hand he holds the
lotus with its central core, while the clenched left rests on the hip."/
Amoghadarsin's statuette occurs thrice in the Chinese collection 1 .
Fig. 72 is a Nepalese drawing of Bodhisattva Amoghadarsin.
24. SURANGAMA.
Colour — White Symbol — Sword.
\ Surahgama's name occurs in the third list of the sixteen Bodhis*
attvas headed by Maitreya. In the Nispannayogavali his name is
referred to twice only and his single independent form is described in
the Durgatiparisodhanamandala as under : |
Surangamah subhrah savyena asidharah katisthavamamustih
NSP. p. 67.
V " Surangama is white in colour. He holds the sword in the right
hand, while the clenched left is placed on the hip." /
I In the Chinese collection Surangama is represented only once, and
that too in a different form l>. I Fig. 73 illustrates a Nepalese drawing
of the Bodhisattva Surangama.
25. VAJRAPANL
Colour— White Symbol— Vajra.
The Bodhisattva Vajrapani although not included in the three lists
of Bodhisattvas as available in the Nispannayogavali, is nevertheless
important as one of the eight principal Bodhisattvas enumerated in the
Sadhanamala in Sadhana No. 18 for Lokanatha. This list of eight
Bodhisattvas is also headed by Maitreya and consists of :
1. Maitreya 5. Manjughosa
2. Ksitigarbha 6. Gaganaganja
3. Vajrapani 7. Viskambhin
4. Khagarbha 8. Samantabhadra
The description of Vajrapani also occurs under the Lokanathsadhana
in the Sadhanamala. A half verse here describes Vajrapani :
Vajrapanisca suklabho vajrahasto varapradah.
Sadhanamala, p. 49.
"Vajrapani is of white colour, carries the Vajra in one hand and
displays the Abhaya mudra in the other."
1. Clark :TLP, II, pp. 20, 143, 247.
2. Clark : TLP. II, p. 135.
THE BODHISATTVAS 99
This Bodhisattva of the Dhyani Buddha Aksobhya is popular in
China and at least five statuettes are noted in the Two Lamaistic
Pantheons, Vol. II. l Tibetan specimens 2 of his image are also
found.
GENERAL REMARKS,
This Chapter on the Bodhisattavas cannot be closed without
a reference to a very important passage in the Nispannayoga-
vali, where the Bodhisattvas are connected with their spiritual sires,
whose forms they assume. In the Vajradhatumandala3 it is said that
the four Bodhisattvas :
1. Maitreya ^^ 3. Sarvapayanjaha
2. Amoghadarsi 4» Sarvasokatamonirghatamati
have the same form as that of the eastern Dhyani Buddha Aksobhya
of blue colour.
The four Bodhisattvas :
1. Gandhahasti \X" 3. Gaganaganja
2. Surahgama */ 4. Jnanaketu ^
have the same form as that of the southern Dhyani Buddha Ratnasam^
bhava of yellow colour.
The fouj: Bodhisattvas : •
1. Amitaprabha 3. Bhadrapala
2. Chandraprabha ^ 4. Jalimprabhs
have the same form as that of the western Dhyani Buddha Amitabha of
red colour.
The four Bodhisattvas :
1. Vajragarbha 3. Pratibhanakuta
2. Aksayamati */ 4. Samantabhadra
have the same form as that of the northern Dhyani Buddha Amogha-
siddhi of green colour.
Although this is a valuable iconographic information, it should,
however, be noted that these are not absolute laws, but the views of
only certain psychic schools of Buddhist Tantra. Be it noted, however,
that the Central Dhyani Buddha Vairocana has no place in this classi-
fication and none of the sixteen Bodhisattvas is affiliated to him*
Nevertheless, the information as given in the Vajradhatumandala of
the Nispannayogavali will be found to be of value in identifying some
of the Chinese statuettes where Bodhisattvas are given Dhyani Buddha
forms.
1. Op. Cit. pp. 8, 11, 56, 197,201. For further cletaila see Getty : GNB,
pp. 50—51.
2. Gordon • ITL, p. 64.
3. NSP. p. 46.
CHAPTER III
BODHISATTVA MANJUSRI
There is no doubt that the place assigned to Manjusri in the
Buddhist pantheon is one of the very highest. The MahSyanists
consider him to be one of the greatest Bodhisattvas. They believe
that the worship of Manjusrl can confer upon them wisdom, re-
tentive memory, intelligence and eloquence, and enables them to
master many sacred scriptures. It is no wonder, therefore, that
his worship became widely prevalent amongst the Buddhists of the
North. They conceived him in various forms and worshipped
him with various mantras. Those who could not form any con^
ception of him according to Tan trie rites, attained perfection only
by muttering his numerous mantras.
It is difficult to fix the exact time when Manjusrl entered the
pantheon of the Northern Buddhists. His images are not found
in the Gandhara and Mathura schools of sculpture, and Asvaghosa,
Nagarjuna, Aryadeva do not mention him in their works. His
name occurs for the first time in the Aryamanjusrimulakolpa
which is obviously a pre'Guhyasamaja work, and then in the
Guhyasamaja Tantra which is dated circa 300 A.D. In this work
there are at least four1 references to Manjusrl and three- to Man-
juvajra. His name also occurs in the Sukhavati Vyuha or the
Amitayus Sutra in its smaller recension8 which was translated into
Chinese between A.D. 384 and 417. Subsequent Buddhist works
however give many references to Manjusrl, and in the accounts of
foreign travellers like Fa-hien1, Hiuen-Thsang, I*Tsing, Manjusri also
finds mention. His images are to be found in the sculptures of Sarnath,
Magadha, Bengal, Nepal and other places.
Many details about Manjusri are to be found in the Svayambhu
Parana, dealing with the glories of the Svayambhuksetra in Nepal.
The Adibuddha manifested himself here in the shape of a flame of
fire, and so it is called the Svayambhuksettra ( place of the Self- Born ).
This place is consecrated with a temple of Adibuddha, and close to it
is the Manjusri Hill now known as the Sarasvatisthana. The information
about Manjusrl as gleaned from the Svayambhu Purana is given below
in brief.
1. Guhyasamaja Tantra, G. O. S. pp. 46, 69, 93, 133.
2» Ibid, pp. 51, 87, 121. 3. Sukhavatlvyuha, p. 92. App. II.
4. There is a considerable difference of opinion with regard to the divinity of
Manjusrl mentioned by Fa-Hien. Legge ; Travels of Fa-Hien, p^ 46
BODHISATTVA MA^JUSRf 101
It is said therein that Manjusri hailed from China, where he was
living on mount Pancasirsa (the Hill of Five Peaks). He was a great
saint with many disciples and followers, including Dharmakara, the
king of the country. Receiving divine intimation one day that the
self-born Lord Adibuddha, has manifested himself as a flame of fire on
a lotus on the waters of Lake Kalihrada in Nepal, he forthwith set out
for that country along with a large number of his disciples, his two
wives and king Dharmakara, with the intention of paying homage to
the deity. When he came to the lake, however, he found a great
expanse of water surrounding the god rendering him quite inaccessible,
and it was with immense difficulty that he could approach the flame and
offer his obeisance. Having at last succeeded in doing so, however,
he cast about in his mind for some means of making the god accessible
to all and he began a circuit of the lake. When he reached the south-
ern barrier of hills, he lifted his sword and clove it asunder. The
hill was split into two, and the water rushed through that opening,
leaving behind a vast strench of dry land, which is now known as the
as the Nepal Valley. The waters of the Baghmatl flow down even to
this day through that opening, which is still called *'Kot-bar" or
"sword-cut".
Manjusri lost? no time in erecting a temple over the flame of fire
and on a hillpck nearby he made his own abode, and also a Vihara
(or monastery) still known as the Manjupattana, for his disciples.
Lastly, he made Dharmakara the King of Nepal. These and many
other pious deeds are ascribed to Manjusri in the Svayambhu Purana.
Putting everything in proper order, Manjusri returned home and soon
attained the divine form of a Bodhisattva, leaving his mundane body
behind >.
From above it appears that Manjusil was a great man who brought
civilization to Nepal from China. He had apparently extraordinary
engineering skill, and was a great architect. It is not definitely known
when he came down to Nepal from China, but there is no doubt that
in 300 A. D, he was well-known as a Bodhisattva. He wielded great
influence on the minds of the Buddhists, and the Mahayanists
worshipped him in various forms and in various ways. He is known
in almost all the countries in the continent of Asia where Buddhism
had its sway* Various countries conceived various forms of Manjusri,
but there was a definite Indian tradition with regard to the conception
1. An account of the story recorded in the Svayambhu Purana with many details
will be found in R. Mitra : Sanskrit Buddhist Literature, pp. 249—258 ; in Hodgson's
Essays, p. 115 ft. and in Oldfield : Sketches from Nipal, Vol. II, p. 185 ff.
102 BUDDHIST ICONOGRAPHY
of Manjusn and it is the purpose of this section to deal with the images
that are purely Indian or are influenced largely by the Indian tradition.
It has been made abundantly clear that the Buddhists believe that
their gods and goddesses affiliate themselves to the families of the five
Dhyani Buddhas, and as such, various attempts were made to assign
ManjusrI to a particular Dhyani Buddha. Sometimes in the Sadhanas
he is made an offspring of Amitabha of red colour, and sometimes
of Aksobhya with the blue colour. Manjusri also shows several
colours showing his allegiance to several Kulas or families* The human
origin of Manjusri seems to be responsible for this kind of confusion.
ManjusrI seems to have been deified in the same manner as Asvaghosa,
Nagarjuna, Aryadeva, Asanga and many others were regarded as
Bodhisattvas in the time of Hiuen Thsang.
Forty-one Sadhanas in the SadhanamSla are devoted to the worship
of Majnusn, and in them are described several distinct forms of the
Bodhisattva. In finding out the names of the different varieties of
Manjusri special stress has been laid on the mantras rather than on
the colophons of the Sadhanas. It should always be noted that in
determining the names of gods the mantras are the safest guides,
especially when one deity has several divergent forms. The different
forms of Manjusri are described in the following pages one by one
having distinct iconographic peculiarities.
In his simplest form Manjusri carries the sword in his right hand
and the Prajn5paramita manuscript in his left* In representations
sometimes the two symbols are placed on lotuses. Sometimes he
is accompanied only by Yamari, sometimes only by his Sakti or
female counterpart, sometimes by Sudhanakumara and Yamari and
sometimes again by the four divinities, Jalimprabha (also called Suryya-
prabha), Candraprabha, Kesini and Upakesini. Though the last four
are required to be present with Arapacana, they are nevertheless found
in others also.
Under the general name of Manjusri several of his Chinese images
are noticed by Clark in his Two Lamaistic Pantheons1. A remarkable
specimen showing Manjusri in the company of two principal Hindu
gods, Ganapati and Visnu is found in the Baroda Museum (Fig. 74).
1. VAJRARAGA
Colour— White Mudra— Samadhi
Asana — Vajraparyahka
Vajraraga Manjusri is also known by the two names of Vak and
Amitabha Manjusri showing his allegiance to the Dhyani Buddha
Amitabha of red colour. Vajraraga is one-faced and two-armed. His
1. Clark : TLP, II, pp.7, 11, 53, 198. —
BODHISATTVA MANJUSRI 103
two hands are joined on his lap forming what is called the Samadhi or
the Dhyana mudra. In this respect he is identical with the Dhyani
Buddha Amitabha whose effigy he bears on his tongue. He differs
from the Dhyani Buddha in respect of his ornaments and dress. Images
of this form of Manjusri are not altogether rare in India or in the
Buddhist countries of the North. The Sadhanamala describes his form
in the following Dhyana : —
Dvibhujaikamukharh sitarh vajraparyankopari samadhimudrahastarh
asesakumarabharanabhusitarh pancaclrakarh Manjusrlbhattarakarh...
nispadya . vajrajihvopari Buddharh Amitabharh vicintya.. Orh Vakye-
darh namah iti japamantrah". Sadhanamala, p. 129
'The worshipper should think himself as Manjusri Bhattaraka who
is two-armed and one^faced and has white colour. His two hands are
joined in forming the Samadhi mudra. He is decked in all princely
ornaments, wears the five pieces of monkish garments... thus meditating
...he should think of the figure of Buddha Amitabha onvthe adamantine
tongue.. /Orh Vakyedarh namah' is the Mantra for muttering".
Fig. 75 illustrates a metal statuette of the god in the Baroda Museum.
Fig. 76 illustrates a Nepalese drawing. Vajraraga is known in Tibet1
and China 2.
2. DHARMADHATU VAOI^VARA
Colour — Reddish White Face — Four
Asana — Lalita Arms — Eight
Stone or bronze images of Dharmadhatu Vagisvara are by no means
common, but paintings are still made of him by the Citrakaras in Nepal.
When represented he is white in colour with four faces, and eight arms,
and he bears five jewels on his diadem. He is clad in celestial garments
and the leading sentiment displayed by him is one of Srhgara (amour).
The two principal hands carry the bow and the arrow, the second pair
has the noose and the goad, the third the book and the sword, and the
fourth the Ghanta and the Vajra. He may also have another form,
exhibiting the Dharmacakra mudra in the first pair of hands instead
of the bow and the arrow, and in the second pair the arrow and the
vessel instead of the noose and the goad. The Dhyana describing the
former is given below : —
"...Astabhujarh caturmukharh mulamukharh raktagaurarh daksinarh
kumkumarunarh pascimarh padmaraktarh, uttararh pltaraktarh, dvabhy-
am hastabhyarh dhanurbanandhararh, aparabhyarh pasankusadhararh,
1. Gordon : ITL, p. 66 illustrates his statue under the general title of Manjusri.
I. Clark i TLP, II, pp. 120, 227.
104 BUDDHIST ICONOGRAPHY
punaraparabhyamPrajnaparamitapustakakhadgadharam,tathaparabhyam
ghantavajradharam maHaragasrngararasojjvalam lalitasanastham visva-
padmacandre divyavastrabharanam Amitabhajatamukutinam...
Sadhanamala, p. 128.
"The worshipper should think himself as the god Dharmadhatu-
Vagisvara who is eight-armed, four-faced and of reddish-white colour.
His right face is red, the face behind is of lotus-red colour, and the left
is of yellowish-red colour. He holds the bow and the arrow in one
pair of hands, the noose and the goad in another pair, the Prajnapara-
mita manuscript and the sword in the third and the Ghanta and the
Vajra in the fourth. He displays the sentiment of Srngara (amour), and
sits on the moon on a double lotus in the Lalita attitude. He is
decked in celestial garments and ornaments and bears on his Jatamukuta
(crown of matted hair) the effigy of Amitabha",
(ii)
Colour— Golden Yellow Faces — Four
Arms— Eight
Manjughosa is the principal deity in the Dharamadhatuvagisvara
Mandala of the Nispannayogavall. His form may be given briefly as
follows :
"Manjughoso Vajraparyanki. . .suvarnavarnah pita-nlla-rakta-sita-
mula-savyapascimavamamukho astabhujo dvabhyam Dharmacakra-
mudrah savyaih krpana-bana-vajrani vamaih prajnaparamitapustaka-
capavajra-ghanta vibhranah". NSP. p. 54.
"Manjughosa sits in the Vajraparyanka attitude is of golden
colour His four faces show the yellow colour in the first, blue in
the right, red behind, and white left. He is eight-armed. With the
two pricipal hands foe exhibits the Dharmacakra Mudra. The remaining
right hands show the sword, the arrow and the Vajra, while the re-
maining left carry the Prajnaparamita manuscript the bow and
the bell".
Three of his images are known to the Chinese collection of Peiping.1
He is also found in Tibet 2
3. MANJUGHOSA.
Colour — Golden Yellow. Mudra — Vyakhyana
Vahana — Lion Symbol — Lotus in the left.
Four Sadhanas in the Sadhanamala describe this variety of
Manjusri, which is known by the name of Manjughosa. When repre-
sented, he closely resembles Manjuvara, with the difference that the
~~1. TLP, II p. 115, 124, 241, 262.
2. Getty : GNB, PL. XXXV, 6 is a good illustration of this form*
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BODHISATTVA MAN^USRI 113
lotus here does not bear the book. It may also be pointed out that
Manjughosa should have the lotus only in his left, but Manjuvara may
have it on either side bearing the book. His complexion is golden
yellow, he rides a lion, and is decked in all sorts of ornaments. He is
two-armed and displays the Vyakhyana mudra, and in his left there is
the lotus. He is sometimes accompanied by Yamari in the left and
Sudhanakumara in the right. The Dhyana as found in one of the
Sadhanas is given below : —
"Manjughosarupam-atmanam pasyet simhastham kanakagauravarnarh
sarvalankarabhusitam Vyakhyanamudravyagrakararh vamaparsve utpala*
dharam Aksobhyamukutinam. Daksme Sudhanakumararh vame Yaman.
takam pasyet... man tram japet Om Vagjsvara Muh'* Sadhanamala p. 109
The worshipper should meditate himself as the deity Manjughosa
who rides a lion, and is of golden yellow colour. He is decked in all
ornaments, and his hands are engaged in forming the Vyakhyana
(teaching) mudra. He displays the night lotus in his left, and bears
the image of Aksobhya on his crown. On his right there is Sudhana^
kumara and on the left Yamantaka ... The Mantra Om Vaglsvara Muh
should be muttered*'.
Some of the Sadhanas mention that he should sit in Lalitasana
on the back of a lion while others are silent about the attitude or
Asana. It is thus possible to conclude that he may sit in other attitudes
also, such as the Vajraparyahka or the Ardhaparyahka. His colour is
generally yellow, but he may have the colour of Kunkuma as well.
4. SIDDHAIKAVfRA. ^
Colour — White Mudra — Varada
Symbol — Lotus.
Four Sadhanas in the Sadhanamala describe the form of Siddhaika*
vira and in one of these he is said to bear the image of the Dhyani
Buddha Aksobhya on his crown (Mauli) thus showing the family
connection with Aksobhya the progenitor of the Vajra family. When
represented, his left hand holds the blue lotus while the right displays
the Varada mudra. The Dhyana in the Sadhanamala describes his
form in the following words :
" Siddhaika viro Bhagavan candramandalasthah candropasrayah
jagadudyotakan dvibhuja ekamukhah suklah vajraparyahki divyalan-
karabhusitah pancavlrakasekharah.. vame nilotpaladharah daksine
varadah.-.tato Bhagavato maulau Aksobhyam devatyah pujarh kurvanti".
Sadhanamala, p. 140.
"God Siddhaikavira sits on the orb of the moon, is supported by
the moon, and illumines the world. He is two-armed, one^faced and
15
114 BUDDHIST ICONOGRAPHY
of white colour. He sits in the Vajraparyahka attitude, and is decked
in celestial ornaments. His head is decorated with the effigies of the
five Dhyani Buddhas....He carries the Utpala in the left hand and
exhibits the Varada mudra in the right. The goddesses pay homage
to Aksobhya who is on the crown of the God",
In another Sadhana the description of the Mandala for Manjusri
is given. The god in the form of Siddhaikavlra is painted red and is
placed in the centre. He is accompanied by four deities, Jalimprabha,
Candraprabha, Kasinl and Upaksinl. These four deities more often
accompany Arapacana, another from of Manjusri which will be
described later, The Sadhanas are not generally explicit as to the
Asana of the god. In Saranath his image is shown in a standing
attitude (Fig, 77).
A confusion is likely to arise between the forms of Loknanatha
and Siddhaikavlra if they are both represented without companions
and without the figure of the parental Dhyani Buddha on their crown,
for both these deities have the same symbol, the lotus and the same
mudra, the Varada pose. In that case the image would most likely be
identified as that of Lokanatha, who happens to be widely represented.
Images of Siddhaikavlra, it may be added, are extremely rare.
5. VAJRANANGA.
Colour — Yellow
Asana — Pratyalidha. Hands — Six or Four.
This form of Manjusri bearing the image of Aksobhya on the crown
is known as Vajrananga, who is worshipped in the Tantric rite of
Vasikarana, or bewitching men and women. His complexion is yellow,
he is in the prime of youth, and bears the image of Aksobhya on
his crown. The two principal hands hold the fully expanded bow of
flowers charged with the arrow of a lotus bud. The four remaining
hands carry the sword and the looking-glass in the two right hands,
while the two left carry the lotus and the Asoka bough with red flowers.
In another Sadhana the Asoka bough is replaced by Kankelli flowers.
He may have an alternative form with four hands, in which case the
hands carrying the mirror and the Asoka bough are dropped. The
Dhyana describing the six-armed variety of Vajrananga is given below:
Vajranahganama Arya-Manjughosam pltavarnam sadbhujam mula*
bhujabhyam akarnapuritaraktotpalakalikasarayukta-kusumadhanurdha-
ram; daksinadvayena khadgadarpanabhrtarh vamayugalenendlvararakta-
sokapallavadharam; Aksobhyadhisthita-jatamukutinarh pratyalldha-
padam sodasavarsakaram mahasrhgaramurtim pasyet".
Sadhanam§la, p. 124
BCDHISATTVA MANJUSRf 115
"The worshipper should think himself as Arya-Mafijughosa in the
form of Vajrananga with yellow complexion, and six arms. With the two
principal hands he draws to the ear the bow of flowers charged with
an arrow of a red lotus bud; the two remaining right hands carry the
sword and the mirror, while the two left hold the lotus and the Asoka
bough with red flowers. He bears the image of Aksobhya on his
Jatamukuta, stands in the Prat^alidha attitude, appears a youth of
sixteen years and displays the intense Srngara Rasa "
Vajrananga as the name implies, is the Buddhist God of Love, — the
prototype of the Hindu God Madana — in the Buddhist Pantheon. The
flowery bow and the arrow of flowers are strikingly common to both.
Unlike the Hindu Anahga, however, several other weapons besides these
are also attributed to the Buddhist God of Love, and an account is
given below of how he makes use of them.
It is said in the Sadhanamala that in the act of bewitching a woman,
the worshipper should imagine himself as piercing her bosom with the
arrow of the lotus bud. The woman falU flat on the ground in a
swoon, whereupon the worshipper should visualise her legs as being
tied by the chain which is the bow. Then he should imagine that
the noose of the lotus stalk is flung round her neck, and she is drawn
to his side. Thereupon, he should think that he is striking her with
the Asoka bough, is frightening her with the sword, and subsequently
he has only to confront her with the mirror by which she LS completely
subjugated ]. Fig. 78 illustrates a Nepalese drawings of the deity.
6. NAMASANGm MANJUSRF
Colour — Reddish white Asana — Vajraparyaiika
Faces — Three Arms — Four
This form of Manjusrl with the effigy of the Dhyani Buddha
Aksobhya on the crown is known as Namasahglti Manjusrl, to whom
only one Sadhana in the Sadhanamala is assigned In this Sadhana
he is described as three-faced and four-armed, and as bearing
the image of Aksobhya on the crown. The first or the principal
face is red, the second blue and the third white. Of his four hands,
the first pair holds the bow and the arrow and the second the
book and the sword. He sits in the Vajraparyanka attitude on
the lotus. The Dhyana describes him in the following terms :
"...Raktagauram padmacandropari vajrapar>afikanisannah ; pratha*
mamukham raktaih, daksinam nifam, vame suklam iti trimukham,
hastacatustayena yathayogam Prajnakhadgadhanurbanayoginam ratna-
1 Sadhanamala, p. 123
116 BUDDHIST ICONOGRAPHY
kiritinamdvatrimsallaksananuvyanjanavirajitarh kumarabharanabhusitarh
atmanam vibhavya tadanu sarva-Tathagatabhisekapurvakarh Akso-
bhyamaulinarh atmanam vicintya . ... Sadhanamala p. 159*160
"The worshipper should meditate himself as Aryanamasangiti,
who is reddish white in colour and sits in the Vajraparyahka attitude
on the orb of the moon on a lotus. His principal face is red, the
right blue and the left white and thus he is three-faced In his
four hands he carries the Prajna(paramita), the sword, the bow
and the arrow according to custom. He wears a bejewelled crown
and is endowed with the thirty-two major and eighty minor auspicious
marks. He appears a prince with princely ornaments Then the
worshipper after offering Abhiseka to all the Tathagatas, should further
meditate himself as bearing the effigy of Aksobhya on the crown.'1
Rare are the images of this form of Manjusri Fig. 79 illustrates
a Nepalese drawing of the deity.
Namasangiti Manjusn is known in China1. Fig. 80 illustrates
his statuette in China.
7. VAGlSVARA
Colour — Red of Yellow Asana — Ardhaparyanka
Vahana — Lion Symbol— Utpa la
Vaglsvara is the tutelary deity of the Nepalese Buddhists and is
widely worshipped in Nepal. The fact that innumerable prayer-
wheels in Nepalese temples bear, in monumental Newari characters,
the mantra "Om Vaglsvara Muh" stands witness to his popularity.
One of the Sadhanas describes him as red in colour with all
princely ornaments, and as seated on a lion in the Ardhaparyanka
attitude. He carries the Utpala in his left hand, and the right is
disposed in a graceful attitude. He may have a yellow variety,
which is known as the Maharajalila ManjusrI, and the Dhyana
describing that form has already been quoted and translated by
Professor Foucher. The red variety of Vaglsvara is described in the
Dhyana thus :
"Pancavirakasekharam kumaram sarvabharanabhusitarh kuhkuma-
runarh vamenotpalam daksinena Hlaya sthitarh sirhhasajiastharh atma*
nam kumararupena cintayet...Om Vaglsvara Muh".
Sadhanamala, p. 105
'The worshipper should think himself as Vaglsvara whose head
is beautified by the images of the five Dhyani Buddhas. He looks
a prince, is decked in all ornaments, and has the complexion of
Kunkuma. He carries the night lotus in his left hand while the
1. Clark : TLP, II, p. 263.
BODHISATTVA MANJUSRT H7
right is displayed artistically. He rides a lion and possesses princely
grace Orh Vaglsvara Muh.
The Indian Museum image (Fig. 81) of this divinity carries a bell
in the right hand, and sits on a lion throne instead of a lion. The
other image in bronze (Fig. 82) is a recent one, and represents the
god somewhat differently. Vaglsvara statuettes are found in Tibet1 .
8. MANJUVARA
Colour- Golden Yellow Mudra — Dharmacakra
Asana— Lalita or Ardhaparyanka Symbol— Prajnaparamita on lotus
Two Sadhanas in the Sadhanamala are devoted to the worship
of Manjuvara who is widely represented. He is yellow in colour,
sits on the back of a lion, in the Lalita or the Ardhaparyanka attitude,
and displays the sentiment of Srngara (amour) lavishly. His two
hands are joined against the chest in forming the Dharmacakra
mudra which is the eternal symbol of instruction on the secrets of
Dharma. He holds the stalk of one or two lotuses on which appears
the Prajnaparamita manuscript. The text of the Dhyana in one of
the Sadhanas is givea below :
"Taptakancanabham pancavirakakumararh Dharmacakramudra-
samyuktarh Prajnaparamitanvitotpaladharinarh simhastharh lalitakseparh
sarvalankarabhusitarh...Orh Manjuvara Hum". Sadhanamala, p. 111.
"The worshipper should think himself as god Manjuvara of golden
yellow colour with head decorated with the images of the five
Dhyani Buddhas. His hands display the Dharmacakra mudra and
he shows the blue lotus bearing the Prajnaparamita manuscript. He
rides a lion, sits thereon in the Lalita attitude and is decked in all
ornaments... Orh Manjuvara Hum".
According to a second Sadhana Manjuvara should have the lotus
in his left hand with the Prajnaparamita on it. He may sit in the
Ardhaparyanka attitude and may be accompanied with the fierce
god Yamantaka of blue colour, whose face distorted with bare fangs
is terrible to behold. Yamantaka carries the staff in one of his hands
and touches the feet of Manjuvara with the other.
The image (Fig. 83) discovered at Bara in the district of Birbhum in
Bengal 2 probably represents this form of Manjusn, with the miniature
figures of the five Dhyani Buddhas over the head, and of the two
1. Gordon ; ITL, p. 68 under the title of Maharajalila ManjusVl.
2, This image was first identified as that of the Hindu goddess, Bhuvanelvari
in the Birbhum Bibarana ( in Bengali ), then as that of Simhanada Lokelvara in A. S. I.
Eastern Circle, Annual Report. 1920—21, p. 27 and later on as that of MaKjuIrl in
Ibid, Plate 1, Fig. 2
118 BUDDHIST ICONOGRAPHY
divinities to the right and left of him. The figure to the right probably
represents Sudhanakumara and the figure to the left is Yamantaka. The
principal god here displays the Dharrnacakra mudra and from under his
left armpit rises a lotus which bears the Prajnaparamita manuscript as
required by the Sadhana. The lotus to the right is added in order to
maintain the balance with the lotus to the -left.
The lion vehicle of Manjuvara is sometimes absent, and in later
images he may be found sitting in the Paryahka or any other attitude
(Fig. 84). The lotus to the right which is not expressly required by
the Sadhana sometimes bears the book (Fig. 85), and sometimes the
sword in order to preserve the balance in a better way (Fig. 86).
One of the two Indian Museum images of Manjuvara has on either side
of the god two feminine figures which no doubt represent the two
wives of Manjusri, Kesini and UpakesinL Manjuvara is well known
in Tibet ]
9. MANJUVAJRA
( i )
Colour — Red Faces — Three
Arms — Six Variety — Yab-yum
The form of Manjusri called bv the name of Manjuvajra is some-
what popular amongst the Tanrric Buddhists. Several of his forms are
described both in the Sadhanamala and the Nispannayogavali of
Abhayakara Gupta. In the Sadhanamala the colour of his body
including the principal face is red like Kunkuma, the right face is blue
and the left white. He has six arms of which the principal pair is
engaged in embracing his female counterpart. The remaining four
hands carry the sword, the arrow, the bow and the night lotus. He sits
in Vajrasana or in the Vajraparyahka attitude on the orb of the
moon supported by a lotus. The Dhyar.a is in verse and may be quoted
as follows : —
Kuhkumarunasanmurtir-nilasitatrayananah I
Bhujadvayasamaslista"svabhavidyadharasyadhrk II
Khadgabanabhujancapa^mlotpalaparigrahah I
Visvadalabjacandrasthah vajrasanasasiprabhah II
Sadhanamala, p. 163.
"...His handsome body is red like Kunkuma and he is endowed with
three faces of (Kunkuma) blue and white colour. He embraces his
Svabha Prajna with two arms, of which one touches her face. He
carries the Khadga, the arrow, the bow, and the blue Utpala, sits on the
moon on a double lotus in Vajrasana, and is radiant like the moon."
1. Gordon : ITL, p. 68 under the title of Dharmacakra Manjusri, Getty : GNB,
pi. XXXV.
BODHISATTVA MANJUSRl 119
Manjuvajra is represented in Tibet }
(ii)
Colour — Golden Yellow. Faces — Three
Arms — Six.
Manjuvajra is the principal deity of the Manjuvajra Mandala
in the Nispannayogavali. His form has been described thus :
"Shhhopari sattvaparyankanisanno Bhagavan Vairocanasvabhavo
Manjuvajrah kamanlyakanakakantih... pita-mla-sukla'Savyetaravaktrah
sadbhujo daksinaih khadgavaradabanan vamaih Prajnaparamitapustaka-
nllabjadhanumsi vibhranah.'' NSP, p. 48.
"God Manjuvajra is seated on the back of a lion, is of beautiful
golden colour and resembles Vairocana, His three faces have yellow
blue and white colour. He is six-armed. In the three right hands
he holds the sword, the Varada mudra and the arrow. In the three left
likewise he carries the Prajnaparamita manuscript, the blue lotus and
the bow."
(iii)
Colour — Red Arms — Six
Manjuvajra is the principal deity in a second Mandala dedicated to
Manjuvajra in the Nispannayogavali. Here he is identified with the Sixth
Dhyani Buddha Vajrasattva. The Kulesa of this god is Aksobhya
according to a definite statement in the Mandala. He is described thus :
"Bhagavan Vajrasattvo Manjuvajra-rupah kuhkumarunah krsna-
sitasavyetaravadanah pradhanabhujabhyam svabha'prajnalihgitosisa-
rendivaracapadharo"... NSP, p. 2.
"The god Vajrasattva in the form of Manjuvajra is red like vermi-
llion. His right face is blue and the left white. With the two principal
hands he embraces his Prajna ; in the others he carries the sword, the
arrow the lotus and the bow."
Under the name of Manjusri his different forms are to be found in
the Chinese collection a. Fig. 8? illustrates an eight-armed Manjuvajra
with the £akti in the Baroda Museum. It is both remarkable and
beautiful.
10. MANJUKUMARA
Colour — Red Vahana — Animal
Faces — Three Arms — Six
Only one Sadhana is assigned to this form of Manjusri in the
Sadhanamala, which depicts him as three-faced and six- armed, riding
1. Gordon : ITL, p. 66 with the Sakti under the title of Manjunatha.
2. Clark : TLP, II, pp. 7, 11, 53, 198, 199.
120 BUDDHIST ICONOGRAPHY
on an animal. In his three left hands he carries the Prajnaparamita,
the Utpala and the bow while the three right show the sword, the
arrow, and the Varada pose. The extract is given below :
^Manjukumararh trimukharh sadbhujarh kunkumarunarh mlasitada-
ksinetaravadanarh sattvaparyankinarh Khadgabanavaradam daksinakaia-
trayarh, Prajnaparamitapustakanilotpalacapavad-vamakaratrayam sasrn-
garakumarabharananivasanadikam nanapuspamahasobhaciratrayavira-
jitarh Tathagataparamanu-parighatitarh atmanarh dhyatva..."
Sadhanamala, p 151
"The worshipper should think himself as god Manjukumara, who
is three-faced and six-armed, of red Kuhkuma, colour. His right
and left faces have (respectively) the blue and white colour. He is
seated on an animaL His three right hands hold the sword, the
arrow and the Varada pose, while the three left carry the Prajnapara-
mita, blue Utpala and the bow* He is decked in princely ornaments
and dress as befitting the Srfxgara (amour) sentiment hre displays.
He wears the three rags of a mendicant, which are richly decorated
with various kinds of flowers. His body is composed of the parti-
cles of the Tathagatas Thus meditating..."
Manjukumara is not known either in sculptures or in ancient
paintings. Fig. 88 illustrates a drawing from Nepal.
11. ARAPACANA
Colour — White or red Asana — Vajraparyanka
Companions — Four Symbols — Book and Sword
Eight Sadhanas in the Sadhanamala describe the form of this
divinity, which is sometimes white and sometimes red. He sits
always in the Vajraparyanka attitude, but when he sits on an animal
he is called Prajnacakra. He is accompanied by the four divinities,
Kesini, Upakesini, Candraprabha and Suryaprabha, and as the group
of five originates from the five syllables, 'A', 'R', 'P, 'C' and 'N',
the principal god is called Arapacana. When represented, the four
companions of Arapacana resemble the principal god in all respects.
None of the forms of Manjusri is so widely represented both
in stone and in bronze as Arapacana. He is accompanied by his
four attendants, but in some instances the companions are entirely
absent. In one of the sculptures ( Fig. 89 ) preserved in the Dacca
Museum1 the four Dhyani Buddhas, Vairocana, Ratnasambhava,
Amitabha and Amoghasiddhi (besides the usual four companions)* are
pictured on the aureole behind, the centre at the top being occupied
1. Bhattasali : 1BBS, p. Z8f, PI. VII, b.
BODHISATTVA MA*3)USRf 121
by one of the companion deities resembling the principal god.
The Java figure (Fig. 90) belongs to this class and shows the four
companions as required by the Sadhana1.
The Nepal bronze (Fig 91) does not carry the book against the
chest, but holds the stem of a lotus, which bears the book. The
Baroda bronze (Fig. 92) also does likewise. Both these are without
companions.
Arapacana is also called Sadyonubhava-Arapacana, or Sadyonu*
bhava-Manjusrl. He is resplendent like the full moon, has a smiling
face, is decked in all sorts of princely ornaments, and sits on a double
lotus in the Vajraparyanka attitude. He brandishes the sword in
his right hand, while his left holds the Prajnaparamita book against
his chest. Jalimkumara (or Suryaprabha) is in front of him, Candra^
prabha behind, Kesini to the right and UpakesinI to the left. All
these four divinities are replicas of the principal god. The Dhyana in
one of the Sadhanas describes the principal god in the following terms :
' *. . .Khadgapustakadharinam akuncitapancaclram, raktavastrayuga-
yutam srngaravesadharinam smitavikasitavadanam Sasankakantjtulya-
sobharh visvadalakamalasthabaddhaparyahkam Sadyonubhavarapacan^
arupam atmanam-ikseta". Sadhanamala, p. 121.
'The worshipper should think himself as Sadyonubhava'Arapecana,
who carries the Khadga and the book, and wears the five cirakas(rags)
which are slightly folded. His garments are of red colour, which
befits the Srfigara Rasa he displays. His face is radiant with a smile,
and is resplendent like the moon. He sits on a double lotus in the
Vajraparyanka attitude..."
This Sadhana further adds that the principal god should originate
from the first syllable "A", Jalimkumara from the syllable "R",
Candraprabha from «P", Kesim from "C" and UpakesinI from "N".
Manjusri should be in the middle, Jalimkumara in front, Candra^
prabha behind, Kesini to the right and UpakesinI to the left. All
of them should have white colour and should be identical with the
principal god in appearance.
Arapacana is popular in Tibet 2 and China \ In Tibet his sword
in the right hand is replaced by the bell in a remarkable statuette.
1. First published and identified as Manjusri in Grunwedel : Buddhist Art in
India, p. 199.
2. Gordon : ITL, p. 68. Getty : GNB, pi. XXXV illustrates a unique image
with the Ghanta in the right hand instead of the sword. By the sound of the
holy gong ignorance seems to disappear.
3. Clark : TLP, II, p. 199 illustrates an image of Arapacana under the title
ofManjus'ri.
16
122 BUDDHIST ICONOGRAPHY
12. STHIRACAKRA.
Colour— White Symbol— Sword
Mudra— Varada Companion— Sakti
The Sadhana for the worship of Sthiracakra has one remarkable
feature which distinguishes it from the other Sadhanas in the
Sadhanamala, namely, that it does not give the Dhyana at a
stretch, but the information about his form is scattered through-
out the Sadhana, which again, is in verse. From the information
gleaned from the Sadhana about his form it appears that in one of
his hands he carries the sword, which by radiating light destroys the
darkness of ignorance, while the other is engaged in bestowing boons of
all kinds, or in other words, displays the Varda pose. His colour is
white and he is decked in garments of the colour of the bee ; he sits on
the moon, supported by a lotus, and wears the Cirakas which makes
his body resplendent. He wears princely ornaments and displays the
sentiment of passionate love. He is accompanied by a Prajna, who
is beautiful, displays the sentiment of passionate love and laughs
profusely.
Images of this form of Mafijusn are rarely met with. The Vahgiya
Sahitya Parisad (Calcutta) image No. C(d) 8/16 has a feint resemblance
with the description given above, and may quite conceivably represent
Sthiracakra. The special feature of this image is that the sword appears
on a lotus, the stem of which is held in the left hand of the god, while
the right hand exhibits the Varada pose. He sits in the Lalitasana on
the moon over a lotus, and is accompanied by his Sakti who according
to Indian custom occupies a position to the left of her consort
(Fig. 93) '.
Sthiracakra is represented in the Chinese Collection 2 .
13. VADIRAT
Asana — Ardhaparyahka Vahana — Tiger
Mudra — Vyakhyana
This form of ManjusrI is rarely to be met with either in stone or in
bronze. One Sadhana only is devoted to the worship of this divinity
which shows that this form was not very popular amongst the Vajraya-
nists. Vadirat is of medium height, neither very short nor very tall,
and appears a youth of sixteen years. He sits on the back of a tiger in
1. This image is described in the Hand book to the Scluptures in the Museum of the
Vangiya Sahitya Panshad, p. 33.
2. Clark : TLP, II, p. 261,
BODHISATTVA MANJUSRf 123
the Ardhaparyafxka attitude with his left leg slightly raised. He wears
all sorts of ornaments, and exhibits the Vyakhyana mudra. The
Dhyana which is in verse, describes the form of Vadirat in the follow*
ing terms :
Svaccham sodasavatsarakrtidharam sarddulaprsthasthitam
Vyakhyavyakulapanipadmayugalam vamardhaparyankinam I
Dlrgahm napi na capi kharvamasamam saundaryarasyasrayam
Ratnasvarnamaniprakaravividhalankaramalakulam II
Sarimad-Vadirat-Sadhanarh samaptam. Krtiriyam Panditasri
Cintamani*Dattasya ". Sadhanamala, p. 98.
''The worshipper should think himself as (Vadirat), who is hand-
some in appearance (lit. pure or transparent), and appears a youth of
sixteen years. He sits on the back of a tiger. His lotus-like hands are
eagerly engaged in displaying the Vyakhyana mudra. His left leg is
slightly raised in the Ardhaparyahka attitude. He is neither tall, nor
very short, is unparalled by any, is the receptacle of all beauties in the
world, and is decked in various ornaments consisting of jewels, gold,
gems and other valuables.
Here ends the Sadhana for Vadirat written by the author
Sri Cintamani Datta."
Vadirat is represented in the Chinese Collection J .
1. Clark : TLP, II, p. 262.
CHAPTER IV
BODHISATTVA AVALOKITESVARA
Avalokitesvara is famous in the Mahayana Pantheon as a Bodhisattva
emanating from the Dhyani Buddha, Amitabha and his £akti, Pandara.
As Amitabha and Pandara are the presiding Dhyani Buddha and
Buddhasakti of the present Kalpa (cycle), namely, the Bhadrakalpa,
Avalokitesvara is said to be the Bodhisattva who rules during the
period between the disappearance of the Mortal Buddha, Sakyasimha,
and the advent of the Future Buddha, Maitreya. The Gunakaranda-
vyuha 3 gives an account of his character, moral teachings and miracles
and from it is learnt that he refused Nirvana, until all created beings
should be in possession of the Bodhi knowledge and to that end he
is still supposed to work and foster spiritual knowledge amongst his
fellow creatures. One of the passages in Karandavyuha 2 characterises
him as taking the shape of all gods of all religions, nay, even the shape
of the father and mother,— in fact, the form of the worshipped of any
and every worshipper, to whom he might impart knowledge of Dharma.
By a slow and gradual process, first human beings and then animals
and other creatures would advance spiritually to obtain salvation. For
all these reasons Avalokitesvara is characterised as the best of the
Sangha, the Jewel of the Buddhist Church or Sahgharatna.
The Sadhanamala gives altogether thirty-eight Sadhanas which
describe a variety of forms of Avalokitesvara. Some of these forms
have already been described by M. Foucher in his Etude sur V Iconogra-
phie Bouddhique de Vlnde, Vol II with translations in French of the
Sanskrit texts of the Sadhanas.
From the Sadhanamala and allied works it is possible to individualize
at least fifteen different forms of Avalokitesvara. All these forms are
described in the following pages one by one. These fifteen by no means
exhaust the forms of Avalokitesvara since there is evidence that these
forms even numbered one hundred and eight, each of them bearing
distinct features and distinct names. In the Macchandar Vahal one of
the numerous Viharas of Kathmandu in Nepal, there are paintings in
many colours of one hundred and eight varieties of the Bodhisattva,
1. R. Mitra : Sanskrit Buddhist Literature, p. 95.
2. Karandavyuha : ed. Samara ml, pp. 21*22.
BODHISATTVA AVALOK1TESVARA 125
executed on the wooden panel surrounding the main temple on three
sides. These paintings appear to be at least two hundred years old,
and they bear inscriptions in old Newari giving the names of deities
they depict.
Clearly, from the view point of antiquity, this discovery is of lesser
importance than the ones obtained from earlier Tantric works, but
as the overwhelming number of forms is likely to throw a flood of
light on the iconography of Avalokitesvara, a description of all these
varieties is given with their respective illustrations in a separate Appen-
dix at the end of this volume.
Out of the fifteen different forms of Avalokitesvara mentioned
above fourteen bear the figure of Amitabha on the crown, thus clearly
revealing their origin. The fifteenth, Vajradharma by name, is said
to bear the figures of the five Dhyani Buddhas on his crown.
Images of Avalokitesvara are found abundantly in India and
Nepal. Out of these the typical one* are described in their appro-
priate places. Such images are popular both in Tibet ] as well as
in China2.
1. SADAKSARI-LOKESVARA.
Colour — White Arms — Four
Mudra — Anjali Symbols — Rosary and lotus
Companions — Manidhara and Sadaksarl Mahavidya
Four Sadhanas in the Sadhanamala are devoted to the worship
of this form of Avalokitesvara, of which two describe him in a group
of three. In a third he is accompanied by Sadaksari Mahavidya,
and in the fourth he is single. In all these, the form of Lokesvara
is the same. Below is quoted the Dhyana of the Sadhany describing
him in a group of three :-
"Atmanam Lokesvararuparh sarvalahkarabhusitarh suklavarnam
vamatah padmadhararh daksinato'ksasutradharam aparabhyam hasta^
bhyarh hrdi samputanjalisthitarh dhyayat. Daksine Manidharam tatta*
dvarnabhujanvitam padmantaroparistham. Vame tathaiva aparapadma-
stharh Sadaksarlrh Mahavidyarh". Sadhanamala, p. 27.
''The worshipper should think himself as [Sadaksarl] Lokesvara
who is decked in all sorts of ornaments, white in colour, and four*
armed, carrying the lotus in the left hand and the rosary in the right.
L Gordon : ITL, p, 44 illustrates a Tibetan drawing of Lokelvara with eleven
heads and eight arms. This form is not described anywhere in Sanskrit. Getty :
GNB, pp. 60-64.
2. References to statuettes from China are given at their appropriate places*
126 BUDDHIST ICONOGRAPHY
The other two hands are joined in forming the mudra of clasped
hand against the chest. To his right is Manidhara, with the same
colour and the same hands, sitting on another lotus. To the left is
Sadaksari Mahavidya with identical form sitting on another lotus".
The Dhyana of this god has been extracted from the Karandavyuha
according to a statement in one of the colophons of the Sadhanas,
The Mantra assigned to this form of Avalokitesvara is the famous
"Orh Manipadme Hum" consisting of six syllables which are here
deified in the form of Sadaksari Mahavidya. When Lokesvara is
associated with the Great Knowledge of the Six Syllables, he is called
Sadaksari Lokesvara.
An artistic sculpture ( Fig. 94 ) depicting all the three deities of
the Sadaksari group is preserved in the Sarnath Museum ]. In
this group, Sadaksari Lokesvara is in the middle, the figure to the
right is Manidhara and the female figure to the left is Sadaksari
MahSvidya. It may be noticed that under the seats of lotuses there
are four diminutive figures which represent none else than the four
guardians of the gates of the Sadaksari Mandala, as prescribed in
the Karandavyuha 2.
Another artistic but mutilated image of the Sadaksari group
(Fig. 95) is now to be found in the Indian Museum, Calcutta. In
this piece both Manidhara and Sadaksari Mahavidya are shown in
the peculiar attitude of sitting known as Virasana.
A third image (Fig. 96) found in the district of Birbhum by
Mr, K. N. Dikshit* of the Archaeological Department is also of the
Sadaksari group, although it is mutilated beyond recognition. The
central figure depicting Sadaksari Lokesvara has lost two hands
bearing the rosary and the lotus, but the marks are still there on
the stone. The two hands exhibiting the Anjali mudra hold also
the jewel.
Images of Sadaksari Lokesvara both singly as well as in groups
abound in Nepal and almost every monastery in Nepal contains
one or more images. A coloured image of this divinity appears in
the temple of Bodhnath a famous place of pilgrimage in Nepal.
Fig. 97 illustrates the principal deity as single in a beautiful bronze
now preserved in the Baroda Museum.
When he appears in a group of two in the company of Sadaksari
Mahavidya, the goddess may have another form depicting her in
Vlrasana with yellow colour and two hands. Her right hand remains
1 Sarnath Catalogue, No. B (e) 6. PI XIV (b;
2. Karandavyuha, p. 74*
3. A. S. I* Eastern Circle, Annual Report, 1920-21, p, 27 and illustrated in pi. 1(2).
BODHISATTVA AVALOKITESVARA * 127
empty, while the left holds the jewel. The Sarnath Museum image
(Fig* 98) although mutilated, must represent this form of Sadaksari
Mahavidya who can be readily recognised by the peculiar Asana which
is uncommon in Buddhist iconography.
Another alternative is also prescribed in the Sadhanumala for all
the three deities, and the Sadhana adds : ''Sometimes in the Sadhana
of Sadaksan Mahavidya, Lokesvara holds also the lotus bearing the
jewel and the book, Manidhara may hold the jewel and the lotus but
should be without the book. Sadaksan may hold the book and the
lotus but should not have the jewel. 1
2. SIMHANADA.
Colour— White
Asana — Maharajalila Vahana — Lion
Symbols — (i)Sword on lotus, (n) Trisula entwined by a snake
Four Sadhanas also are devoted to the worship of Sirhhanada,
who is regarded by the Mahayanists as the curer of all diseases. He
is one of the most popular forms of the Bodhisattva Avalokitesvara,
and his images are by no means rare in India, At Patan in Nepal, all
the more important monasteries have two images of Simhanada,
either in stone or in bronze, on either side of the staircase leading
to the sanctum. He appears in many forms only slightlv different
from one another. The four Sadhanas alike describe him as follows :
"Atmanarh Simhanada-Lokesvararuparh bhavayet, svetavarnarh
trinetrarh jatamukutinarh nirbhusanarh vyaghracarmaprabhrtarh sirhha-
sanastharh maharajalilarh candrasanarh candraprabharh bhavayet.
Dak sine sitaphanivestitarh trisularh svetarh, vame nanasugandhikusuma*
paripuritapadmabhajanarh. Vamahastat uttharh padmopari jvala-
tkhadgarh". Sadhanamala, p. 63.
'The worshipper should think himself as Simhanada Lokesvara
of white complexion, with three eyes, and the jatamukuta (crown of
matted hair). He is without ornaments, is clad in tiger-skin, and
sits on a lion in the attitude of princely ease. He is seated on the
orb of the moon and is radiant like her. In his right there is a
white trident entwined by a white snake, and in his left there is a
lotuS'bowl full of fragrant flowers. From his left hand rises a lotus
on which there is a sword burning like fire".
Images of Simhanada are by no means rare and are rather easy
to identify because of clear-cut symbols. Fig. 99 is the famous image
1 Sadhanamala, p. 36.
128 BUDDHIST ICONOGRAPHY
of Simhanada from Mahoba carrying a rosary1. Fig. 100 is a Nepalese
statue at the gate of a monastery. Fig. 101 illustrates a sculpture
from Magadha, while Fig. 102 is a small bronze of Simhanada with-
out the lion, from Nepal. Simhanada wears no ornaments and this
feature of his images differentiates him from Manjusri when he is
on the back of a lion.
Simhanada is popular both in Tibet2 and in China 8.
3. KHASARPANA
Colour — White Symbol — Lotus
Mudra — Varada Asana — Lalita or Ardhaparyahka
Companions — Tara, Sudhanakumara, Bhrkuti, Hayagriva
Khasarpana is described in a number of Sadhanas in the Sadhana-
mala, which fact points to his popularity. The peculiar feature of
this god is that he is invariably accompanied by the four divinities
Tara, Sudhanakumara, Bhrkuti and Hayagriva. The principal figure
is the same as Lokanatha, two-armed, and one faced, carrying the
same symbol and exhibiting the same Mudra ; the difference lies in
the fact that Lokanatha has only two companions, Tara and Hayagriva
while Khasarpana has two in addition, namely, Bhrkuti and Sudhana-
kumara. He is of white complexion, and sits either in the Lalita
or the Ardhaparyahka attitude. Below is given a somewhat lengthy
Dhyana describing the god : —
"Atmanam Bhagavantam dhyayat himakarakotikiranavadatarh
deham, urdhvajatamakutam Amitabhasekharam visvanalinanisannam
sasimandale, ardhaparyahkanisannarh sakalalankaradharavigraham
smeramukham dvirastavarsadeslyam daksine varadakaram vamakarena
sanalakamaladharam , karavigalatpiyusadhat abhyavahararasikam tada^
dhah samaropitordhvamukham mahakuksim atikrsam atisitivainarh
Sucimukham tarpayantam srimat-Potalakacalodaranivasinam karuna^
snigdhavilokanarh srhgararasaparyupasitaih atisantam nanalaksanalah-
krtarii. Tasya puratas-Tara daksinaparsve Sudhanakumarah.
Tatra Tara syama, vamakaravidhrtam sanalam utpalam daksina*
karena vikasayanti nanalahkaravati abhinavayauvanodbhinnakucabhara.
Sudhanakumarasca krtanjaliputah kanakavabhasidyutih, kumararu-
padhari vamakaksavinyastapustakah sakalalankaravan.
Pascime Bhrkuti Hayagriva uttare.
Tatra Bhrkuti caturbhuja hemaprabha jatakalapini, vame tridandlka-
mandaludharihasta daksine vandanabhinayaksasiitradharakara trinetra.
1. First published by K.N. Dik shit. : Six Sculptures fiom Mahoba in the A. S. I,
Memoir No. 8, pi. la, p 2. 2, Getty : GNB, pp. 60, 61, 69*
3. Clark : TIP, II, pp. 199, 265. For the Magadha specimen see JR AS, 1894t pi. 1.
BODHISATTVA AVALOKITESVARA 129
Hayagrivo raktavarnah kharvalambodarah urddhvajvalatpingalakesah
bhujagayajnopavitl kayilatarasmasrusremparicitamukhamandalah rakta*
vartulatrinetrah bhrkntikutilabhrukah vyaghracarmambarah danda-
yudhah daksinakarena vandanabhinayi.
Ete sarva eva svanayakananapreritadrstayo yathasobham avasthitas*
cintanlyah...
Iti Khasarpanasadhanam''. Sadhanamala, pp. 39-41
"The worshipper should think himself as the god (Khasarpana)
from whose body radiate rays of a crore of moons* He wears the
Jatamukuta (crown of matted hair), holds the image of Amitabha on
his head, and sits on the moon over a double lotus in the Ardhapary-
afika attitude. He is decked in all sorts of ornaments, has a smiling
face, is aged about twice eight years, exhibits the Varada pose in
the right hand, and holds the lotus with a stem in the left. He is
an expert in distributing the stream of nectar that flows from his
hand, and Sucimukha who stands below with an uplifted face, a
protruding belly and very pale appearance receives the same. He
resides in the womb of the mount Potalaka, looks beautiful with
compassion, is full of the sentiment of Srngara (amour), is extremely
peaceful and is endowed with various auspicious marks
"Before him is Tara and to the right is Sudhanakumara
"Here Tara is green. She causes to blossom with her right hand
the lotus flower with a stem held in her left. She has many ornaments
and her breasts are oppressively heavy due to adolescence
"Sudhanakumara, again, has his two hands joined ( anjali ), is
resplendent like gold, and has the appearance of a prince. He
carries the book under his left arm-pit and is decked in all ornaments.
"To the West of the god is Bhrkun and to the North Hayagrlva
"Here Bhrkutl has four arms, is resplendent like gold has matted
hair, carries the staff with three horns and the Kamandalu in the
two left hands. The two right show the mudra of bowing in
one and the rosary in the second. She has three eyes.
"Hayagriva is red in colour and is short, with a protruding belly.
His hair rises upwards in the shape of a flame, and he has a snake
as his sacred thread. His face is recognised by a deep brown pair
of moustaches; his eyes are red and round; his eye-brows are distorted
in a frown. He is clad in tiger-skin, has the staff as a weapon,
and his right hand exhibits the act of bowing.
"All these deities should be meditated on as disposed in a befitting
and artistic manner, with their eyes directed towards the face of
the principal deity. Here ends the Sadhana for Khasarpana.'*
17
130 BUDDHIST ICONOGRAPHY
The finest image (Fig. 103) of Khasarpana was discovered by the
late N. K. Bhattasali in the Pargana Vikrampur in Eastern Bengal *.
The sculpture is recognized to be one of the best products of Bengal
art. Had the central figure been mutilated like the one reproduced
in Fig. 104 it would still be possible to identify Khasarpana by means
of the four companions to the right and the left of the principal god.
Images of Khasarpana are found in Tibet 2 and China •*.
4, LOKANATHA
Colour— White Symbol— Lotus
Mudra — Varada
Four Sadhanas are devoted to the worship of the Lokanatha
form of Avalokitesvara. He is single in three Sadhanas and only
one Sadhana describes him as accompanied by Tara and Hayagriva.
The same Sadhana adds further that Lokanatha should be accom-
panied also by the eight Bodhisattvas : Maitreya, Ksitigarbha, Vajrapaiji,
Khagarbha, Viskambhin, Samantabhadra, Manjughosa, and Gagana-
gafija, and by the four goddesses : Dhupa, Puspa, Gandha, and Dlpa,
and by the four guardians of the gates : Vajrahkusi, Vajrapasi, Vajras-
phota and Vajraghanta, In other words the Sadhana gives the
constitution of the whole Mandala of Lokanatha. The principal god
has two hands and carries the lotus in the left hand and exhibits the
Varada pose in the right, exactly like Khasarpana previously described.
The Sadhana which is in verse is given below :
"Purvavat-kramayogena Lokanatham sasiprabharh I
Hrihkaraksarasambhutam jatamukutamanditam II
Vajradharmajatantahstham asesaroganasanam I
Varadam daksine haste vame padmadharam tatha II
Lalitaksepasamstham tu mahasaumyam prabhasvaram I
Varadotpalakara saumya Tara daksinatah sthita II
Vandanadandahastastu Hayagrivo'tha vamatah I
Raktavarno maharaudro vyaghracarmambarapriyah'1 II
Sadhanamala, p. 49,
"Following the same procedure as before, the worshipper should
think himself as Lokanatha, resplendent like the moon, as springing
from the sacred syllable Hrih and wearing the Jatamukuta,
"He has within his matted hair the figure of the god, Vajradharma,
is the destroyer of all diseases, exhibits the Varada tnudra in the
right hand and carries the lotus in the left.
1. Bhattasali : IBBS, p. 24f, PI. VII,a.
2. Gordon : ITL, p, 66 3. Clark : TLP, II, pp. 202, 264.
BODHISATTVA AVALOKITESVARA 131
"He sits in the Lalita attitude, is peaceful and resplendent. To
his right is Tara, who has a peaceful appearance, exhibits the Varada
mudra and carries the lotus.
"To the left is Hayagnva, who displays the gesture of bowing
and carries the staff in his two hands. He is red in colour, appears
terrible and is clad in the" garment of tiger-skin".
Later, the Sadhana adds an account of the deities constituting
the Lokanatha Mandala, including the Bodhisattvas and the gate-
keepers. The relevant text is given below :
'Tadvaratakastadale padme Maitreyadirh ca vinyaset I
Maitreyah pitavarnasca nagapuspavarapradah II
Ksitigarbhah syamavarnah kalasarh cabhayarh tatha I
Vajrapanisca suklabho vajrahasto varapradah II
Khagarbho nabhahsyamabho cintamani-varapradah I
Manjughosah kanakabhah khadgapustakadharakah II
Gaganaganjo raktavarno nilotpalavarapradah I
Viskambhi tu ksaravarno ratnottamavarapradah II
Samantabhadrah pitabhah ratnotpalavarapradah I
Dhupadicaturddevi ca Vajrankusyadidvaragah II
Varnayudhe yathapurvarh mandalasyanusaratah I
Evamvidhaih samayuktarh Lokanathsrh prabhavayet II".
Sadhanamala, pp. 49-50
(tOn the eight petals of the lotus [on which the god sitsj should be
placed the gods Maitreya and others. Maitreya is yellow in colour
carries the Naga [kesara] flower and exhibits the Varada pose. Ksitigar-
bha is of green colour, carries the Kalasa and exhibits the Abhaya
pose. Vajrapani is whitish in colour, carries the Vajra and exhibits
the Abhaya mudra. Khagarbha has the colour of the blue sky,
carries the Cintamani and exhibits the Varada mudra. Manjughosa
is of golden complexion and carries in his two hands the sword and
the book. Gaganaganja is of red colour, carries the lotus and
exhibits the Varada mudra. Viskambhin is ash-coloured, carries
the excellent jewel and exhibits the Varada mudra. Samantabhadra
is yellowish in complexion, carries the jewel on a lotus and exhibits
the Varada mudra. The four goddesses Dhupa and others (accom-
pany Lokanatha) and the (four goddesses) Vajrankusi and others
guard the gates, their colour and weapons being in accordance with
the canons the Mandala. In this way Lokanatha should be meditated
upon by the worshipper".
When represented, Lokanatha is generally alone and is occasion-
ally accompanied by Tara and Hayapilva. In paintings of the com-
plete Mandala alone all the companion deities are expected to be
132 BUDDHIST ICONOGRAPHY
present. Lokanatha may sit in three attitudes according to three
different Sadhanas ; he may have the Lalita, the Paryanka or the
Vajraparyahka attitude. Out of all images of Lokanatha so far
discovered, the one from Mahoba is perhaps the best and the most
artistic (Fig. 105), There is a fine bronze of Lokanatha (Fig 106) in
the Baroda Museum. The Sarnath image (Fig- 107) shows the
miniature figure of Amitabha in the Samadhi mudra on the crown.
The Nepal image is made of pure ivory (Fig. 108). These last two
represent Lokanatha in the standing attitude,
5 HALAHALA
Colour — White Faces— Three
Hands — Six Companion — Prajna
Three Sadhanas in the Sadhanamala are devoted to the worship of
Halahala Lokesvara. Images of this divinity are rarely to be met with
in India, but in Nepal there are some, though they do not strictly follow
the Sadhana. The distinguishing feature of Halahala is that he is
generally accompanied by his Sakti or female energy whom he carries
on his lap. The Sadhanas all enjoin the presence of the Sakti, but in
a stone image from Nepal (Fig. 109), he is represented alone. According
to the Sadhana the god should be seated, but the image above referred
to represents him in a standing attitude. The Dhyana contained in one
of the Sadhanas is in verse and reads as follows :
"Hrlhkarabijanispannarh Halahalam mahakrpam I
Trinetrarh trimukham caiva jatamukutamanditarh II
Prathamasyam sitam niladaksinam vamalohitam I
Sasankardhadharam murdhni kapalakrtasekharam II
Jatantahsthajinam samyak sarvabharanabhusitam I
Sitaravindanirbhasam srngararasasundaram II
Sadbhujam smeravaktram ca vyaghracarmambarapriyam I
Varadam daksine panau dvitiye caksamalikam II
Trtlye saranarttanam ca vame capadharaih tatha I
Dvitiye sitapadmam ca trtlye stanameva ca II
Vamajanuna sitam Svabhadevlrh dadhanam. Vamena kamaladharam
daksinena bhujena Bhagavadalifiganaparam kusumasobhitajatakalapam,
Daksinaparsve sarpavestitam trisulam, vamaparsve padmasthakapalam
nanasugandhikusumaih sampurnam, raktapadmacandre Hlaksepasthi-
tam vibhavayet Bhagavantam.M Sadhanamala, pp. 65-66.
1. K. N. Dikshit : S»x Scu!ptit»fis from Mahoba, in the Memoir No, 8 of A.SJ.
B3DHISATTVA AVALOKITESVARA 133
"The worshipper should think himself as Halahala, the Great Com-
passionate, originating from the sacred syllable Hrih, with three eyes,
three faces and matted hair rising upwards in the shape of a crown.
The first (or the principal) face is white, the right blue and the left red.
He bears on his head the crescent and the Kapala. The Jma Amitabha
is within his matted hair and he is decked in all ornaments. He is
resplendent like the white lotu.s and appears beautiful by the sentiment
of passionate love he displays. He has six arms, a smiling face and is
fond of garments of tiger-skin. He displays the Varada mudra in the
first right hand, the second has the rosary, while the third flourishes
the arrow. The first left hand carries the bow, the second the white
lotus and the third touches the breast (of his Sakti). He carries the
Sakti of his own creation on the left lap. She shows the lotus in the
left hand and the right is engaged in the act of embracing the god Her
Jata (matted hair) is decorated with flowers. To their right is the
Trisula entwined by a snake, and on the left is the Kapala on the lotus,
full of fragrant flowers. The god sits in the Lalita attitude on the red
lotus1'.
One image of Halahala is found in China ] .
6. PADMAN4RTTESVARA
(I) Eighteen — Armed
Face - One Arms — Eighteen
Asana — Dancing in Ardhaparyahka
Symbol — Double lotus in all hands
Three Sadhanas in the Sadhanamala are devoted to the worship of
this variant of Avalokitesvara, all entirely different and describing
three widely different forms of the deity. It is, therefore, necessary
that all the three Dhyanas should be quoted and translated. There is
no difficulty in taking the three to refer to Padmanarttesvara, because
all doubt is set at rest by the fact that the Mantra, where mentioned, is
in all cases the same, and that the Sadhanas always designate him as
Padmanarttesvara.
Images of Padmanarttesvara are rare in India. Fig. 110 illustrates
one good example from Nepal. It follows the Dhyana given below :
'Tadmanarttesvaramnayena Arya-Avalokitesvara-Bhattarakarh atma-
narh vibhavayet ekamukham astadasabhujarh ardhaparyahkinam Ami*
tabhajatajutamandalam sarvakarair-visvapadmadharinam, yoginlvrnd-
aparivrtam, daksinavamaparsvasthita-Tara-Sudhana-Bhrkuti-Hayagrlvam
divyalahkaravastrabhusanam ." Sadhanamala, p. 77.
1. Clark : TLP, II, 265.
134 BUDDHIST ICONOGRAPHY
"The worshipper should think himself as Bhattaraka Avalokitesvara
in the form of Padmanarttesvara, who is one-faced and eighteen^armed.
He stands in the Ardhaparyahka attitude, and on his Jatamukuta there
is an effigy of Amitabha. He carries the double lotus in all his
(eighteen) hands and is surrounded by a host of Yoginis. His right
and left sides are occupied by Tara, Sudhana, Bhrkuti and Hayagnva.
He is decked in all kinds of divine ornaments and dress".
The Asana prescribed in the Sadhana is the Ardhaparyanka. This
Asana may have two \arieties ; the ordinary, which is also called the
Maharajalila, as in the cases of Vaglsvara and Simhanada, and the dan-
cing variety, (ardhaparyankena natyastha) as in the cases of Heruka,
VajravSrahi and others. As the word 'narttesvara' means the "God of
Dance7' or the "God in a dancing attitude" the Asana of Pad man antes-
vara may be taken as the dancing variety of Ardhaparyanka, and this is
borne out by the fact that the Nepal image illustrated in Fig. 110 shows
the god in this particular attitude. This image hails from the Sarasvatl-
sthana or the Manjusri Hill at Svayambhuksettra in Nepal. Though
the god is here represented with only two of the companion deities,
yet the principal figure corresponds in all details, to the description
given in the Sadhanamala.
One statuette of this god is found in China l. This Chinese
statuette is illustrated in Fig. 111.
(II) Two-Armed
Colour — Red Companion— Sakti
Mudra — Sue! Symbol— Lotus
Vahana — Animal
Another form of Padmanarttesvara is described in a second Sadhana.
and the Dhyana contained therein runs -as follows :
"Padmanarttesvaram atmanam bhavayet sattvaparyankanisannarii
dvibhujaikamukham raktam sakalalankaradharam Amitabhamukutam
vamaparsve Pandaravasinlsamaslistam alinganabhinayasthitavamabhu'
jena raktapadmadharam, narttanabhinayena Sucimudraya vikasayada-
paradaksinakaram...". Sadhanamala, p. 75.
'The worshipper should think himself as Padmanarttes\ ara, who
is seated on an animal, is two-armed and one-faced. His colour is red,
and he is decked in all kinds of ornaments ; he bears the effigy of
Amitabha on the crown and is embraced by Pandaravasinl in the left.
His left hand, which carries the lotus, is raised in the act of embracing
( the Sakti ), while the right shows the Sucimudra in the act of
dancing... J\
1. Calrk : TLP, II, 193. ""
BODHISATTVA AVALOKITESVARA 135
The same Sadhana which contains the Dhyana quoted above, gives
a description of the Mandala, and adds the information that the lotus
on which the god sits has eight petals. The petals contain one goddess
each. For instance, on the East petal there is Vilokinl, white in colour
and carrying the red lotus. The South is occupied by Tara of green
colour, holding the Palasa and the lotus flowers. Bhurim is in the
West, is yellow in complexion and carries the Cakra and the blue lotus*
Bhrkuti is in the North, with white colour holding the yellow
lotus. In the North-East there is Padmavasini, who is yellow in
colour and holds the red lotus. The South-East is occupied by
Visvapadmesvari, who is sky-coloured and holds the white lotus. The
South* West is occupied by Visvapadma, who is white and carries the
the black lotus. In the Norh-West there is Visvavajra of variegated
colour holding the double lotus ] .
Fig. 112 illustrates a Nepalese drawing of the principal deity
although it does not agree with the Sadhana in all details.
(Ill) Eight- Armed
Colour — Red Arms — Eight
Asana — Dancing in Ardhaparyahka
One Sadhana in the Sadhanamala describes an eight-armed form
of Padmanarttesvara. The Dhyana contained therein is given below :
"Namah Padmanarttesvaraya.
Tatra Visvapadmopari candre rakta-Hrihkaraparinatam Padmanar-
ttesvaram raktavarnam ekamukham jatamukutinam trinetram, asta-
bhujam sarvalankarabhusitam sarpayajnopavitam ardhaparyahkena
tandavam. Prathamabhujadvayena nrtyabhinayam, dvitiyadaksinabhu-
jena hrdi vikasayantam sucimudram, vamabhujena raktapadmam sirasi
dhrtam, trtlyabhujadvayena vajravaddandatrisuladharam, caturtha-
bhujadvayena aksasutrakundikadharam, astadevlparivrram, evambhutarh
Padmanattesvaram Lokanatham bhavayet/' Sadhanamala, p. 76.
4 Salutation to Padmanarttesvara !
Here the worshipper should think himself as Padmanattesvara,
on the moon over the double lotus, originating from the sacred
syllable Hrlh. He is red in colour with one face, the Jatamukuta,
three eyes and eight arms. He is decked in all sorts of ornaments,
wears the sacred thread of a snake, and dances in the Ardhaparyaftka
attitude. The first pair of hands exhibits the dancing pose ; the
second right shows the Sucimudra against the chest, the second left
holds a red lotus over his head.; the third pair carries the staff and
the Trisula, stamped with the Vajra ; while the fourth pair carries the
1 Sadhanamala, pp, 75—76.
136 BUDDHIST ICONOGRAPHY
rosary and the water^pot. The principal god is surrounded by eight
goddesses. In such a manner the god Padmanarttesvara Lokanatha
should be meditated upon".
7. HARIHAR1HARIVAHANA
Colour— White Arms— Six
Vahana — Sithha, Garuda and Visnu
The composition of the deity is so queer that great difficulty is
experienced in recognizing the images of this form of Avalokitesvara,
called by the peculiar name of Harihariharivahana. The Sadhana
gives a description of the god, but is practically silent as ro why such
a special name is given to this particular variety of Lokesvara. India
has not given uptil now any image of Harihariharivahana and it is
rare even in Nepal. There is only one sculpture at Svayambhuksettra
and a bronze in one of the monasteries at Pattan, and both of them
follow the Sadhana faithfully. The lion is lowermost, on it rides
Garuda. On the back of Garuda, again, rides the Hindu god Visnu
with the four symbols, the conch, the discus, the mace and the lotus.
On the shoulder of Visnu rides Lokesvara. The lion, the Garuda
and the god Visnu, all have 'Hari' as their synonym and because the
vehicle of Lokesvara is composed of three 'Hari's, the principal god
acquires the name of Harihariharivahana. Two Sadhanas in the
Saclhanamala are devoted to the worship of this form of Arya
Avalokitesvara and the Dhyana in one of them describes the god in
the following terms :-
Harihanharivahanodbhavam Bhagavantarh Arya-Avalokitesvaram
sarvangasuklam jatamukutinam santavesam daksinakarena Bhagavantarh
Tathagatam saksinam kurvantam dvitl>ena aksamaladharinam trtlyena
duhkuhakam lokam upadesayantam vamena dandadharam dvitiyena
krsnajinadharam trtlyena kamandaludharam simha*garuda-visnu-
skandhasthitam atmanam dhyatva..."
Sadhanamala, p. 77
"The worshipper should think himself as the Harihariharivahana form
of god Avalokitesvara, white in all limbs, with the Jatamukuta (crown
of matted hair) and clad in graceful garment?. He cites the Tathagata
as witness with one of his right hands, carries the rosary in the second,
and instructs deluded people with the third. He carries the staff in
one of his left hands, the deer-skin in the second and the Kamandalu
in the third. He sits on the shoulder of Visnu below whom there
are Garuda and the lion. Thus meditating..."
BODHISATTVA AVALOKITESVARA 137
In the drawing of Hariharharivahana illustrated in the Appendix
there is a snake below the lion. The snake also has the synonym
of 'Hari' in Sanskrit, and that is how a snake is added, although it is
not required by the Sadhana. Fig. 113 is a Nepalese drawing of
the god and here instead of the deer-skin in one of the left hands,
an actual elephant is seen. In other respects the drawing represents
the principal god in all details. This deity is also known in China1.
8. TRAILOKYAVASANKARA
Colour — Red Asana — Vajraparyanka
This variety of Lokesvara is also known by the name of Uddivana
or Oddiyana Lokesvara or Lokesvara as worshipped in Uddiyana
which was, in the middle ages, a great centre ofTantric learnmg.lt
has already been shown that there are good grounds for identifying
this Uddiyana with the village of Vajrayogini in the Pargana Vikrampur
in the district of Dacca now in Eastern Pakistan. This form of
Lokesvara does not seem to have been widely represented. There
is a bronze image of the god in the Kva Vahal at Pattan in Nepal,
but it does not follow the Sadhana in all details. Two Sadhanas in
the Sadhanamala are devoted to the worship of Trailokyavasahkara
and the Dhyana contained in one of them is given below :-
"Lokesvaiam sarvahgamaharagaraktarh ekamukham dvibhujam
trinetram jatamukutamanditam vajrankitapasahkusahastam raktapadme
vajraparyahkanisarmam div^abharanavastravibhusjtam atmanam
vicintya". Sadhanamala, p. 80
"The worshipper should think himself as Lokesvara whose limbs
are reddened b> the intense sentiment of passion, ar d who is one-faced,
two-armed and three*eyed. He wrears a crown of matted hair, and
carries in his two hands the noose and the goad stamped with the
Vajra. He is seated on a red lotus in the Vajrapar>ahka attitude and
is decked in celestial garments and ornaments. Thus meditating.. "
The Dhyana, it may be noticed, does not expressly mention the
name of Trailokyavasankara which is given in the colophon. It
further says that the Sadhana is composed by the great Tantric savant,
Sarahapada, famous in the Middle Ages as one of the eighty-four
Mahasiddhas— 'Great Mystics'. Two illustrations of this form
of Avalokitesvara occur in the Two Lamaistic Pantheons of Clark2*
Fig. 114 illustrates one of the statuettes in China.
1. Clark : TLP, II, p. 266
2. Clark TLP, pp. 219, 266.
18
138 BUDDHIST ICONOGRAPHY
9. RAKTAIOKESVARA
( I ) Four— Armed
Colour — Red Arms — Four
Companions — Tara and Bhrkuti
Two Sadhanas in the Sadhanamala are devoted to his worship, but
the two Dhyanas describe two widely different forms of the god. It is
necessary, therefore, to quote and translate both the Dhyanas. One
of the Dhyanas describe him thus :
"Daksinottaraparsve Tara-Bhrkutidevidvayasahitam Arya^Avalo-
kitesvara-Bhattarakarh raktavarnam raktama.yambaranulepanarh pasah-
kusadhanurbanadharamcaturbhujam,.raktakusumavatasokataroradhastat
avasthitam atmanarii vicintayet...
Rakta-Lokesvarasadhanam" Sadhanamala, p. 83
"The worshipper should think himself as Arya^Avalokitesvara,
who is flanked in his right and left by the two goddesses Tara and
Bhrkuti. He is red in colour, wears red garments and is besmeared
with red unguents. He carries in his four hands, the noose, the goad,
the bow and the arrow., and stands under the Asoka tree, which has
blossomed into red flowers.1'
The colophon of the Sadhana attributes to him the name of Rakta-
Lokesvara and this name is given simply because his colour is red.
Images of Rakta-Lokesvara are rare. A few can be seen in the Kva
Vahal at Pattan in Nepal. Statuettes of Rakta-Lokesvara are found in
China under the title of Caturbhuja Avalokitesvara *. This Chinese
statuette is illustrated in Fig. 115.
( II ) Two-Armed
Colour— Red Symbol — Lotus
Mudra — Opening of the Petals
The second Sadhana in the Sadhanamala describes a two-armed
form of the god Rakta-Lokesvara* This two-armed form is not met
with either in painting or in stone. The Dhyana contained in the
Sadhanamala describes this two-armed form in the following words :
* 'Raktavarnam Amitabhagarbha jatamukutadharam vamakaragrhita-
raktapadmam tacca daksinakarena vikasayantam vividhalankaravastra-
vibhusitam...". Sadhanamala, p. 84
"The worshipper should think himself as Rakta-Lokesvara of red
colour, having a Jatamukuta (crown of matted hair) bearing the effigy
1. Clark : TLP, II. p. 219.
BODHISATTVA AVALOKITESVARA 139
of Amitabha. He carries the red lotus in the left hand, and opens its
petals with the right and is decked in various ornaments and dress../'
A reference may here be made to the Dhyana of Vajradharma
another variety of Lokesvara, equally unrepresented, whose form will
be described later in this chapter. The forms of Rakta-Lokesvara and
Vajradharma are almost identical with the difference that the Sadhana
enjoins for Vajradharma, the Vahana of a peacock.
10. MAYAjALAKRAMA
Faces — Five Hands — Twelve
Asana — Pratyalidha Colour — Blue
As the Sadhana for the worship of this particular form of Avalokit*
esvara, occurs originally in the Mayajala Tantra, this peculiar name
has been given to the deity. This is the only fierce form of Lokesvara
known to the Indian Buddhists, although fiercer forms are to be met
with in the Tibetan Buddhist Iconography. The Dhyana given in the
Sadhanamala describes him in the following terms :
"Bhagavantam Arya-Avalokitesvaram krsnavarnam pratyalldhasthaih
suryamandalasthitarh pancamukham trinetram dvadasabhujarh sita-
raktadaksinamukhadvayam tatha pitaharitavamamukhadvayam daksina"
bhujaih damaru-khatvanga-ahkusa-pasa"vajra'Saradhararh, vamabhujaih
tarjam-kapala'raktakamala'mani'cakra-capadharam darhstrakaralasakal'
avadanarh sanmudropetam sardramundamalalankrtasai Iram nagnam
sarvahgasundafarh atmanam jhatiti pratyakalayya..."
Sadhanamala, p. 86
"The worshipper should think himself as Arya^Avalokitesvara, whose
colour is blue. He stands in the Pratyalidha attitude, on the orb of the
sun. He is five^faced, three-eyed, twelve-armed, with the two right
faces of white and red colour, and two left of yellow and green colour.
He carries in his right hands the L Damaru, 2. the Khatvanga,
3. the goad, 4. the noose, 5. the Vajra and the 6. the arrow, and
in the left hands the 1. raised index finger, 2. the Kapala, 3. the red
lotus, 4. the jewel, 5. the discus, and 6. the bow. His faces look
terrible with bare fangs. He wears the six bone ornaments and his
person is embellished by the garland of heads. He is nude and appears
beautiful in all limbs. Thus quickly meditating..."
One illustration of this form of Lokesvara occurs in the Two
Lamaistic Pantheons of Clark l. His statue can be seen in Nepal at
Svayambhuksettra. A Nepalese drawing of this form is illustrated in
the Appendix.
1. Clark V TUMI, p. 267 ~~~
140 . BUDDHIST ICONOGRAPHY
11. NfLAKANTHA
Colour — Yellow Asana — Vajraparvahka.
Mudra — Samadht Symbol— Bowl of Jewels
Companions — Two serpents on either side
One Sadhana only is devoted to the worship of this form of Lokes-
vara, which is almost identical with that of Amitabha, his sire, whose
image he bears on his head. Indeed, this mark of descent and the
sacred thread he wears, constitute the only points of difference between
them. Amitabha being a Dhyani Buddha, has no father. Nilakantha,
according to the Sadhana, is accompanied by two serpents. The Dhyana
is given below
"Bhagavantam pitavarnam ardhacandrahkitajatamukutinam Amita-
bhopalaksitasirahpradesam raktapadmoparisthitam ; krsnasaraharina-
carmani vajraparyankinam samadhimudropari nanaratnaparipurnaka-
paladharinam eneyacarmakrtayajnopavltinam, vyaghracarmambara-
dharam nirabharanam Nilakantham nilagutikavisistakantham ; parsva-
dvaye parasparabhisambaddhapuccha'Samaniphanavisista-Bhagavadavalo-
kanaparordhvamukhakrsnasarpadvayopalaksitam atmanam evarh
vibhavayet-.. Sadhanamala, pp. 85-86
"The worshipper should think himself as the god Nilakantha, who is
yellow in colour and whose Jatamukuta is adorned with the crescent and
the effigy of Amitabha. He sits in the Vajraparyahka attitude on a red
lotus, on which is spread the skin of black deer. He exhibits the
Samadhi mudra with his two hands carrying the Kapala (bowl) filled
with a variety of gems. His sacred thread is made of the deer-skin
(eneya-carma). He wears the tiger-skin, and bears no ornaments (on his
person). His throat shows the blue pill (of poison). The two sides
of the god are occupied by two cobras with jewels on their hoods and
tails entwined with each other. They look towards the god. Thus
mediating..."
Apparently, the conception of this god has been modelled on the
Hindu deity Siva, who is said to have saved the world from destruction
by swallowing the poison that issued from the mouth of Vasuki, the
lord of serpents, while the gods and demons were churning the ocean
together. The poison, could it have entered Siva's stomach, would
surely have destroyed him, but it remained in his throat, and as the
colour of the poison is said to be blue, there is a blue spot in the
white throat of the god. That is the reason why the name Nilakantha
(Blue- throat) has been given to Siva. As this particular form of
Lokesvara has also the same name, it may well be that its origin was the
Hindu god Siva Nilakantha.
BODHISATTVA AVALOKITESVARA 141
A confusion is likely to arise in the identification of the images of
Nilakantha and Vajraraga, a variety of Manjusrl, if rheir respective
sires are not represented. The only point of distinction in that case
would be the total absence of ornaments and rich garments in the case
of Nilakantha. If the image bears princely ornaments and is richly
clad, it must be identified as that of ManjusrL
In the temple of Bodhnath in Nepal, a coloured image of this
god is found, but here he is alone, without the serpents. The other
image, (Fig. 116) hails from the monastery at Sarnath. In this sculpture
two tiny figures carrying bowls are seen instead of two serpents.
One statuette of this deity occurs in the Chinese collection l.
12. SUGATISANDARSANA
Colour — White Arms — Six
One short Sadhana in the Sadhanamala describes this form of
Avalokitesvara. The Dhyana for Sugatisandarsana describes his form
in the following words :
''Sugatisandarsana-Lokesvara-Bhattarakam suklavarnarh sadbhujam
varadabhayaksamaladharam daksme, vame padmakunditridandidharam
ca ratnabharanabhusitarh vratasutradharinarh jatamukutarh padmopari
candramandalasthitam saumyaruparh bhavayet". Sadhanamala, p. 88
The worshipper should think himself as Bhattaraka Sugatisandarsana
Lokesvara white in complexion, six-armed, showing the Varada and
Abhaya poses and the rosary in the three right hands, and carrying
the lotus, the water-pot and the staff with three horns in the three left
hands. He is decked in ornaments and jewels, wears the sacred thread
and a crown of matted hair. He stands on the moon over lotus
and is peaceful in appearance'*.
Fig. 117 illustrates a Nepalese drawing of Sugatisandarsana Lokesvara
which agrees with the Sadhana in major details.
13. PRETASANTARPITA.
Colour — White Arms — Six
Only one Sadhana in the Sadhanamala describes this form of
Avalokitesvara. The Dhyana describing the form of Pretasantarpita is
brief and is worded as follows :
"Jatamukutinarh sadbhujam prathamabhujadvayena varadau dvitlya-
bhujadvayena ratnapustakau trtiyabhujadvayena aksamalatridandikam,
sarvalankarabhusitarh vratasutradharinam saurnyamurtim, padmopari
candramandale sthitam svetavarnarh vibhavayet".
Sadhanamala, p. 89
1. Clark : TLP, II, p. 267,
142 BUDDHIST ICONOGRAPHY
"The worshipper should think himself as Pretasantarpita Lokesvara
who bears the Jatamukuta (crown of matted hair), is six^armed, exhibits
in the first pair of hands the Varada posesrcarries in the scond pair the
jewel and the book, and in the third pair holds the rosary and the
Tridandi (staff with three horns). He is decked in all sorts of
ornaments, wears the sacred thread, has a graceful appearance, stands
on the orb of the moon on lotus, and is white in colour/'
Fig. 118 illustrates a Nepalese drawing of Pretasantarpita Lokesvara.
14. SUKHAVATl LOKESVARA
Colour— White Faces— Three
Arms — Six Asana — Lalita
Companion — Sakti
A description of the deity occurs in the Dharmakosasafigraha of
Amrtananda. Nepal abounds in images of SukhavatI Lokesvaia both
in stone and in bronze, though his images are not found in any other
Buddhist country of the North. The description above referred to
runs as follows :
**Trimukhah svetavarnah sadbhujah dakse mudrah, saraksepa-japa-
mala-varadani, vamesu dhanuh-kamala-Tarorusamarpanani lalitasanah
kamalopari, Vajratara-Visvatara-Padmatarabhih parivrtah. Upari
caityah.
SukhavatI Lokesvarah"
"Sukhavati Lokesvara is three-faced, white in colour, and six-armed.
One of his right hands is in the act of shooting an arrow, the remain-
ing two have the rosary and the Varada pose. In two of his left hands
he carries the bow and the lotus, and the third is placed on the thigh
of Tara. He sits in Lalitasana on the lotus, and is surrounded by the
goddesses Vajratara, Visvatara, Padmatara and the like. There is a
Caitya on the top".
Fig. 119 illustrates a sculpture from Nepal representing the deity
SukhavatI Lokesvara. Here the god is in the company of his Sakti but
is without the other companions as prescribed.
15. VAJRADHARMA
Colour— Reddish White
Vahana — Peacock Symbol — Lotus
One Sadhana in the Sadhanamala describes this form of Avalo*
kitesvara. The distinguishing feature of this god is that he rides a
peacock. The Sadhana in question is entirely in verse, and the
BODHISATTVA AVALOKITESVARA 143
relevant portion containing the description of the form of Vajradharma
is given below :
'Tarn sitarh raktavarnam tu padmaragasamadyutirh 1
Pancabuddhamukutadharam harsenotphullalocanarh II
Vamato spardhaya nalam dhrtva sodasapatrakam I
Padmam vikasayantanca hrdi daksinapanina II
Mayuropari madhyasthe nisannam candramandale I
Sattvaparyankamabhujya sasrngararasotsavam II
Caityantahsthamahakarma-kutagaraviharinam I
Bhavayet Vajradharmagryam nityam Bodhim avapnuyat." II
Sadhanamala, p. 33.
'The worshipper should conceive himself as excellent Vajradharma,
of reddish white complexion, bright as the Padmaraga gem, who
bears the effigies of the Five Dhyani Buddhas on the crown. His
eyes beam with delight ; and he holds with pride the stem of a lotus
with sixteen petals in his left hand and with the right causes it to
blossom against his chest. He sits on the moon over lotus on
the back of a peacock, enjoys his seat of the animal and displays
the delightful sentiment of amour. He moves in the sanctum of the
Caitya, the place for great performances. He ( the worshipper )
certainly receives the Bodhi who meditates (upon him) in this manner."
Fig. 120 illustrates a Nepalese drawing of the deity. A statuette
also occurs in the Chinese collection ] .
GENERAL
The conception of Avalokitesvara is as old as the third century
B. C. He was first ushered into existence by the Mahasanghikas,
about the time of Asoka, in their work, entitled, Mahavastu Avadana,
where he has been characterised as the "Bhagavan who takes the
form of a Bodhisattva, whose duty it is to look round (Avalokita)
for the sake of instructing the people and for their constant welfare
and happiness" 2. This Avalokita Bodhisattva no doubt gave rise to
the concrete form of Avalokitesvara, even before the second century
A. D. and his images can be traced from the Gupta period onwards.
He first appears in the Sukhavati Vyuha 3, and a passage in the
Karandavyuha where he is said to manifest in all possible forms of
godhead for the sake of the ignorant and to bring salvation to
1. Clark: TLP, II, p. 265.
2. Senart : Le Mahavastu, Vol. II, p. ,294
3. This work was first translated into Chinese between A.D. 1 48 and 1 70 while
the smaller recension was translated into the same language between A.D. 384
and 417. Max Muller : Sukhavati Vyuha, introduction* pp. iii-iv.
144 BUDDHIST ICONOGRAPHY
mankind, accounts undoubtedly for the great number of his forms.
As different people belonged to different faiths, this Compassionate
Bodhisattva wa* obliged to assume the shape of all gods of all faiths,
nay, even the shape of father and mother. Avalokitesvara thus is
given no less than 108 forms which are painted on the walls of the
Macchandar Vahal atKuthmandu in Nepal with inscriptions for the
purpose of identification. All these paintings have been copied out
by an expert Nepalese artist, and are illustrated in this book in an
Appendix. To this a reference mav be made for the numerous forms
of Avalokitesvara.
CHAPTER V
EMANATIONS OF AMITABHA
I. GODS
Besides Avalokitesvara and a few forms of Manjusn already des*
cribed, only two male divinities in the Sadhanamala emanate from
the Dhyani Buddha Amitabha. These are Mahabala and Saptasatika
Hayagrlva. Their parental Dhyani Buddha, it may be remembered, is
distinguished by his red colour, the family symbol of lotus, and the
Samadhi mudra he displays. His offsprings Mahabala and Hayagrlva
belong, therefore, to the lotus family and should show the signs
characteristic of the family. They are studied below in the order
of their importance.
1. MAHABALA
Colour — Red Asana — Pratyalidha
Arms — Four
Only one Sadhana in the Sadhanamala is devoted to the worship
of Mahabala- a fierce emanation of the Dhyani Buddha Amitabha
The Dhyana is given below :
"Mahabalarh ekamukharh caturbhujarh sarvangaraktam urdhva-
pingalasarpavabaddhakesarh daksinabhujabhyarh sitadanda-sitacamara-
dhararh vamabhujabhyarh vandanabhinaya-sapasatarjamkararh \yaghra-
carmanivasanarh sarpabharanarh pratyalldharh damstrakaralavadanam
suryamandalaprabhumalinarh Amitabhamukutinarh dhyatva..."
Sadhanamala. p. 507.
'The worshipper should think himself as Mahabala with one
face, four arms and red complexion. His brown hair rises upwards
and is tied by a snake. He carries in his two right hands the white
staff and the chowrit while the two left show the mudra of bowing
and the raised index finger. He is clad in tiger-skin, wears ornaments
of snakes and stands in the Pratyalidha attitude His face looks
terrible with bare fangs and he is bright like the orb of the sun. He
holds the effigy of Amitabha on the crown".
Two statuettes of Mahabala are known to the Chinese collection
at Peiping l .
Clark- TLPtII,pp. 49, 217.
19
146 BUDDHIST ICONOGRAPHY
2. SAPTASATIKA HAYAGRIVA
Colour— Red Symbols — Vajra and Danda
Special Feature — Horse-head
I Hayagriva has several other forms and these will be described at
their appropriate places. One of these forms is said to bear the effigy
of Amitabha on its crown This particular form of Hayagriva, therefore,
should refer to the spiritual son of Amitabha with the red colour and
the Samadhi mudra, The present Sadhana describing his form
states in the colophon that it is restored from the Saptasatika Kalpa.
This particular form of Hayagriva, therefore, is designated as the
Saptasatika Hayagriva. \The Dhyana contained in the Sadhana is
given below :
"Raktavarnarh mahabhayanakarh trinetrarh kapilasmasruraudrarh
brhadudararh damstrakaraimarh dantausthakapalamahnarh jatamuku-
tinarh Amitabhasiraskarh, Dvitlyamukharh bhimabhayanakarh nilarh
hayananarh hihikaranadinarh Brahmandasikharakrantarh dvitlyena
bhavagraparyantarh astanagopetarh kharvavamanakararh vyaghrcarma-
nlvasanarh sarvalankarabhusitarh sakaladevasurarh tarjayantarh grhita-
vajradandarh...vicintayet". Sadhanamala, p. 509*
V'The worshipper should conceive himself as (SaptasatikaJHayagnva)
of red complexion, who is t erFi BIy a w e ^inspirTng , with three-eyes,
and a brown beard. He is angry and has protruding belly. His face
appears terrible with bare fangs ; he wears a garland of skulls with
teeth and lips, is crowned with his Jata and the figure of Amitabha.
His second face is distorted like that of a horse, which is blue in
colour and neighs incessantly. He tramples on the top of the wqrld
with one leg and the bottom of the world with the other. He wears
ornaments of eight serpents, is short and dwarfish, is clad in tiger-
skin and decked in all ornaments. He threatens all the gods and
Asuras, and holds the Vajra and the staff (in his two hands)".
It may be noticed that the Dhyana is not clear about the number
of hands and faces ; but it seems from the description that Hayagriva
is endowed with a principal face, terrible in appearance, over which
there is the horse's head. This horse's head over the principal face,
is found only in case of Hayagriva, and distinguishes him from all
other Buddhist deities. But when, as a minor god, he accompanies
others, the horse's head is not seen as a rule. In such cases, the
Danda or the staff serves as the identification mark. From the
Dhyana it also appears that he is two-armed and carries the Vajra
and the Danda, the Vajra being generally held in the right hand, while
EMANATIONS OF AMITABHA 147
the Danda is carried in the left. About the name, however, the
colophon is certain, and it asserts that this Sadhana has been restored
from the Saptasatika Kalpa, that is to say, a ritual work consisting of
letters that can make up seven hundred verses in the Anuscubh metre.
Images of Hayagriva are found in Tibet J and China -.
The female divinities that emanate from the Dhyani Buddha
Amitabha are three in number, the most important and popular among
them being Kurukulla, to whose worship no less than fourteen
Sadhanas are devoted in the Sadhanamala. Two Sadhanas are devoted
to Bhrkuti and one Sadhana only to Mahasitavati. who is also included
in the list of the Pancaraksa deities or the Five Great Protectresses.
These goddesses as a rule are not represented in stone or bronze ;
paintings, however, are made by the Nepalese artists even in modern
times.
3. KURUKULLA
She is one-faced and may have two, four, six or eight arms. When
she is six -armed, she bears the effigies of the five Dhyani Buddhas
on her crown. When two-armed, she is called Sukla Kurukulla, and
when she is four-armed she is called by the names of Tarodbhava
Kurukulla, Uddiyana Kurukulla, Hevajrakrama Kurukulla and Kalpokta
Kurukulla.
Kurukulla is said to confer success in the Tantric rite of Vasikarana
or the rite of enchanting men, women, ministers, even kings. Some
of the Sadhanas contain many interesting methods of casting spells
on different people. The mantra of Kurukulla is
Hum Hnh Svaha". When this mantra is muttered ten thousand
times, mi merilffe~~T?ewitched. Thirty thousand times would prove
sufficient to subdue a minister, but the subjugation of a king requires
no less than a lakh. She can even confer on her devotees the power
of subduing all ministers and kings.
Images of Kurukulla are found in Tibet ix and China 4 and she is
very popular in these countries. The different forms of Kuiukulla as
available in the Sadhanamala are dealt with in the following pages.
). Gordon : ITL, pp. 90, 93 ; Getty : GNB, p. 163 as Hayagriva.
2. Clark : TLP, II, pp. 59, 164, 172, 198 under the title of Hayagriva.
3. Getty : GNB, pp. 126, 127.
4. Clark : TLP, II, 105, 239, Also Gordon ; ITL, p. 75.
148 BUDDHIST ICONOGRAPHY
(1) SUKLA KURUKULLA
Colour — White Symbols — Rosary and the Bowl of Lotus
Vahana — Animal Asana— Vajraparyahka
Only one Sadhana in the Sadhanamala states the method whereby
she should be propitiated. The Dhyana contained therein is a long
one and runs as follows :
"Atmanam Bhagavatlrh aksasutrotpalamrtakundim savyavasavya-
panibhyam dadhanam, trinetram Padmadhrkpramukhaih sarva-Tatha-
gataih Vmadisodasadevlbhir-abhisiktam Amitabha-virajitananapuspo-
pasobhitajatamukutam srhgaradirasopetam, kincit-savyapanipallava-
sthaksasutramalokamanam, ksirambhodhisvetavarnabjastham-amrtafxko*
pari sattvaparyahkasanastham, kahkana^keyura-kundala-nupuramukta-
haradivyavastradivibhusitam nllanantabaddhakeslm piyusavarna-Vasu-
kikrtaharam, rakta-Taksakakitakarnograkundalam, durvasyama-Kar-
kkotakakrtayajnopavltam, sukla-Padmanagendrakrtaharam, mrnalavar-
na-Mahapadmakrtanupuram, pita-Sankhapalakrtakankanam, dhuma
bhravat-Kulikakrtakeyuram, subhravarnam sravadamrtavigraharh karu-
nardracittam bhavayet.
Sukla-Kurukulla'Sadhanam". Sadhanamala, pp. 362-363
"The worshipper should think himself as the goddess (Kurukulla),
who carries the rosary and the cup of Utpala full of nectar in the
right and left hands respectively. She is three- eyed and is offered
bathing water by (the Bodhisattvas) Padmapani and others, by all the
Tathagatas and the sixteen damsels beginning with Vina. She wears
the Jatamukuta which is decorated with various flowers and the
miniature figure of Amhabha. She displays the sentiment of passion-
ate love, and other sentiments, and turns slightly to have a look at the
rosary which she carries in her leaf-like hand. She sits on an animal
and rests on the nectar- like lap of the white lotus, that rises from
the ocean of milk. She is decked in bracelets, armlets, ear-rings,
anklets, pearl-necklace, and is clad in celestial garments. Her hair
is tied up by the serpent Ananta of blue colour, her necklace is formed
by the milk-coloured Vasuki, and her prominent ear-ornament
(Kundala) by red Taksaka, her sacred thread is the green Karkkotaka,
her girdle is the white Padma the lord of serpents, her Nupura (anklet)
is the serpent Mahapadma of the colour of the lotus stalk, her
bracelet is the yellow Sahkhapala, her armlet is Kulika of the colour
of smoky clouds. She is white in colour, and seems to diffuse nectar.
She possesses a heart which is melting with compassion."
EMANATIONS OF AMITABHA 149
This lengthy description is sufficient to give one a vivid picture
of the form of Sukla-Kurukulla, which has many features in common
with the other varieties to be described briefly hereafter. It is not
necessary to quote and translate all the Dhyanas given in the Sadhana-
mala, because that would only serve to increase the bulk of the
book unnecessarily.
(II) TARODBHAVA KURUKULLA
Colour — Red Arms — Four
Asana — Vajraparyanka Vahana — Kamadeva with wife on Rahu
Five Sadhanas differing but slightly from one another describe this
form of Kurukulla designated as Tarodbhava Kuiukulla in the
Sadhanas According to the information supplied by the Sadhanas,
Tarodbhava is red in colour with red garments, red ornaments and
the seat of a red lotus. She has four arms. The two left hands
show the Abhaya mudra and the arrow, and the two right carry
the bow and the red lotus. She sits in the Vajraparyanka attitude
and under the seat appear Kamadeva and his wife riding on the
demon Rahu. She has a red aureole behind her, she wears the effigy
of Amitabha on the crown, and resides in the Kurukulla mountain.
She is in the fulness of youth and displays amorous sentiments.
Sometimes she is seen charging a flowery arrow on the flowery bow,
ready to strike.
Fig. 121 illustrates a recent Nepalese drawing of the deity.
(Ill) UDDIYANA KURUKULLA
Appearance — Terrible Colour — Red
Asana — Ardhaparyahka Vahana — Corpse
Arms — Four
This form of Kurukulla is called in Sadhanas Uddiyana Kurukulla
or Kurukulla as worshiped in Uddiyana (mod. Vajrajogini). This form
of the goddess looks rather fierce, with the garland of heads, the five
skulls on the head, protruding teeth and tongue, garments of tiger-skin,
and brown hair rising above her head in the shape of a flame. Her eyes,
red, round and moving, are three in number. She is four-armed ; the
principal pair of hands is engaged in drawing to the full the flowery
bow charged with an arrow of red lotus, while the second pair holds the
goad of flowers and the red lotus.. She is red in colour and sits in the
Ardhaparyahka attitude on a corpse.
Fig. 122 illustrates one of her statuettes found in Peiping. Here the
Vahana of corpse is present.
150 BUDDHIST ICONOGRAPHY
( IV ) ASTABHUJA-KURUKULLA
Arms — Eight Colour — Red
Asana — Vairaparyahka Mudra — Trailokyavijaya
As has already been pointed out, Kurukulla may have another form
with eight arms which is described in the only Sadhana devoted to her
worship. This Sadhana is attributted in the colophon to the great
Siddhacaryya Indrabhuti, who flourished about 700 A. D. and who had
a daughter even more illustrious than himself, Laksmmkara by name,
well-versed in the doctrines of both Vajrayana and Sahajayana. The
goddess described in this Sadhana is not terrible like the six-armed
Mayajala Kurukulla or the four-armed Uddiyana Kurukulla, but is
mild, youthful and compassionate The most important feature of the
Sadhana us that it gives the description of a complete Mandala which
comprises the principal goddess and twelve surrounding divinities. For
a better understanding of the form of this goddess and of the consti-
tution of the Mandala, it is desirable that the Dhyana should be quoted
in extenso and translated : —
"Kurukullam Bhagavatim astabhujam raktavarnam raktastadala-
padmasuryye Vajraparyankanisannarh kutagaramadh^anivasinirii pra-
thamakaradvayena Trailokyavijayamudradharam, avasistadaksinakaraih
ankusarh akarnapuritasaram varadamudram dadhanam. parisistavama-
bhujaih pasam capam utpalam dadhanam, sakalalankaravatlm
bhavayet.
Purvadale Prasannataram, daks nadale Nispannataram, pascimadale
Jayataram, uttaradale Karnataram, aisanadale Cundam, agneyadale
Aparajitam, nairrtyadale Pradipataram, vayavyadale Gaurltarafica
dhyayat. Etasca sarvah raktavarnah Panca-Tathagatamukuta vajra
paryahkanisanna daksinabhujabhyam varadamudra-akamapurita'Sara-
dhara. vamabhujabhyam utpalacapadharah.
Purvadvare Vajra vetallrh lambodaram vikrtamukhim raktavarnam
Aksobhyamukutam, daksinahastabhyarh tarjany-ankusadharam, vama*
karabhyam vajraghantapasadharam
Daksinad\'are Aparajitam pltavarnam Ratnasambhavamukutam dak-
sinahastabhyam dandahkusadharam, vamahastabhyam ghantapasa-
dharam.
Pascimadvare Ekajatam krsnavarnam urdhvakesam lambodaram
dantavastabdhaustham Amitabamukutam, daksmakarabhyam vajrahk-
sadharam vamakarabhyam ghantapasadharam.
Uttaradvare VajragSndhanm kanakasyamarii Amoghasiddhimukutam
vikrtamukhim lambodaram, daksinabhujabhyam khadgankusadharaih
EMANATIONS OF AMITABHA 151
vamabhujabhyarh ghantapasadharam vicintayet.
Etascatasra alldhapadasthah" Sadhanamala, pp. 351-352
"The worshipper should think himself as goddess Kurukulla, who
is eight-armed, red in colour, sits in the Vajraparyahka attitude, on the
orb of the sun over the lotus with eight petals and resides in the
sanctum ; she displays the Trailokyavijayamudra in her first pair of
hands, and shows in the other right hands, ahkusa, the arrow drawn
up to the ear and the Varada pose, In the remaining left hands she holds
the noose, the bow and the Utpala ; she is decked in all kinds of
ornaments.
On the east petal is Prasannatara, on the south is Nispannatara, on
the west Jayatara, on the north Karnatara ; on the north-east petal
is Cunda, on the east Aparajita, on the south-west Pradlpatara, and on
the north-west is Gauritara. All these deities have red colour and the
five Dhyani Buddhas on their crowns. They sit in the Vajraparyahka
attitude and show in the two right hands the boon and the arrow
drawn up to the ear, and in the two left hands the Utpala and the bow.
In the eastern gate is Vjijravetali, who has a protruding belly, distort-
ted face, red complexion, the effigy of Aksobhya on her crown, and
carries in the two right hands the Tarjani and the goad, and in the two
left the Vajraghanta and the noose.
In the southern gate is Aparajita, who is yellow in colour and has
the effigy of Ratnasambhava on her crown ; she carries in her two right
hands the staff and the goad, and in the two left the bell and the noose.
In the western gate is Ekajata, who is blue in colour with hair rising
upwards over head, and a protruding belly ; she bites her lips with
her teeth, bears the image of Amitabha on her crown and carries in
her two right hands the Vajra and the goad, and in the two left the
bell and the noose.
In the northern gate is Vajragandhari, golden in complexion, who
bears the image of Amoghasiddhi on her crown, has a distorted face
and portruding belly, and carries in her two right hands the sword and
the goad, and in the two left the bell and the noose.
All these four goddesses stand in the Alidha attitude"
(V) MAYAjALAKRAMA KURUKULLA
Asana — Vajraparyanka Arms — Six
Colour—Red
Another form of Kurukulla is known as Mayajalakrama Kurukulla
since the Sadhana describing it is said to have been restored from
152 BUDDHIST ICONOGRAPHY
the now lost Mayajala Tantra by the Tantric author Krsnacarya l.
This form of Kurukulla is six-armed. In accordance with the Sadhana
she sits in the Vajraparyafika attitude, on the sun over the red lotus
of eight petals. She is red in colour and is clad in red garments.
She exhibits the Trailokyavijaya mudra in the first pair of hands,
shows the Abhaya mudra and the sprout of a white Kunda flower
in the second, and the rosary and the Kamandalu in the third. She
bears the images of the five Dhyani Buddhas on the crown, and sits
on the back of the serpent Taksaka. She has another form with six
arms, which is not expressly called the Mayajala Kurukulla, and is
described in another Sadhana. According to that Sadhana, she
exhibits the Trailokyavijaya mudra in the first pair of hands, and
carries Ankusa and the red lotus in the second pair, and the full-
drawn bow charged with an arrow in the third. Images of Kurukulla
are rare.
4. BHRKUTf
Colour — Yellow Arms — Four
Bhrkuti is another goddess emanating from the Dhyani Buddha,
Amitabha of red colour. She is already familiar as a companion of
Avalokitesvara as a minor goddess. When she accompanies Khasar-
pana she is yellow in colour and four^armed. She carries in her
two left hands the Tridandi and the Kamandalu. One of the two
right hands is raised in the attitude of bowing, while the other
carries the rosary. Bhrkuti is also worshipped as a principal goddess,
and two Sadhanas in the Sadhanamala are devoted to her worship.
She is described in the following words :
"Caturbhujaikamukhirh pltarh trinetrarh navayauvanarh Varada-
ksasutradharadaksinakaram tridandikamandaludhaiavamakararh Amita-
bhamudritam padmacandrasanastharh Bhagavatlrh dhyatva...
Bhrkutisadhanarh.'1 Sadhanamala, p 341.
"The goddess Bhrkuti should be conceived as four-armed, one-
faced and yellow in colour, three-eyed and as blooming with youth.
She shows the Varada mudra and the rosary in her two right hands,
and carries the Tridandi and the Kamandalu in the two left. Her
crown is stamped with the effigy of Amitabha. She sits on the orb
of the moon over a lotus. Thus meditating.,.."
Another Sadhana adds the information that she should be peaceful
in appearance and should wear a crown of matted hair. Images of
1. Sadhana No. 181, Sadhanamala p. 372.
EMANATIONS OF AMITABHA 153
Bhrkuti are rare, but they are known in Tibet ] and China 2. Fig. 123
illustrates one of the Peiping images.
5. MAHASITAVATl.
Colour- Red Arms — Four
Asana— Ardhaparyanka
All the five goddesses constituting the Pancaraksa group are said to
emanate from one or another of the Dhyani Ruddhas. Mahasltavatl is
affiliated to her parental Dhyani Buddha Amitabha. The short Sadhana
describing her form is as follows :
"Mahasita (sicsita) vati caturbhujaikamukhi rakta daksinabhujadvaye
aksasutiavaradavati vamabhujadvaye vajrankusahrtpradesasthapustaka-
van Jlrhbija Amitabhamukutl ardhaparyahkasthita nanalahkaravatl
suryasanaprabha ceti1'. Sadhanamala, p. 401 .
"Mahasitavati js four-armed, one-faced, and red in colour.
She shows in her two right hands the rosary and the Varada pose,
and in her two left hands the Vajra and the Book against the chest.
She originates from the syllable 'Jim', bears the effigy of Amitabha on
the crown, sits in the Ardhaparyanka attitude, and is decked in various
ornaments. She sits on the orb of the sun ynd glows like the sun".
Images of this goddess are found in Tibet " and China 4 .
1. Getty: GNB, pp, 124-125.
2. Clark: TLP, II, pp. 160t 171, 288.
3. Getty : GNB, p, 139.
4. Clark : TLP, II. pp, 206 and 275 under the title of SttavatL
20
CHAPTER V
EMANATIONS OF AKSOBHYA
I. GODS
The number of deities emanating from the Dhyani Buddha Akso-
bhya is quite large, larger than that of the emanations of any other
Dhyani Buddha. The blue colour of Aksobhya is associated with
the terrible deities in the Sadhanamala and with the gruesome rites
in the Tantras, and the deities emanating from this Dhyani Buddha
are generally of blue colour and terrible in character both in deed
and in appearance. With the exception of Jambhala, the God of
Wealth, all the male emanations of Aksobhya have a terrible appear-
ance with distorted face, bare fangs, three blood-shot eyes, protruding
tongue, garland of severed heads and skulls, tiger-skin and ornaments
of snake.
Amongst the deities emanating from the Dhyani Buddha Aksobhya
Heruka stands pre-eminent. Heruka and his yab-yum form Hevajra
are the chief gods in this group and they have numerous forms,
many with different names. For the sake of clarity and convenience
these forms have been separated for treatment, especially when a
characteristic name is supplied by the Sadhanas to such forms. The Four
Guardians of Gates treated later under the Chapter : 'Collective
Deities' are of fierce appearance and figure prominently amongst
the offsprings of Aksobhya. The deities coming under the Vajra Family
of Aksobhya are described below one by one.
1. CANDAROSANA.
Colour — Yellow Arms — Two
Symbols — Sword and Tarjanipasa
Candarosana is also called Mahacandarosana, Candamaharosana
and Acala. Four Sadhanas are devoted to his worship and he is
always represented in yab-yum. Prabhakarakirti is said to be the
author of one of the Sadhanas the major portion of which is ia verse.
Another Dhyana describing the god runs as follows : • • .
"£rI-Candamaharosanam Bhagavantam atasipuspasaftkasamLAcala-
paranamanam dvft>htrjaih kekaraksaih damstravikliralamahaghoravada-
nam ratnamaulinaih damstraniplditadharam mundamalasiraskam
EMANATIONS OF AKSOBHYA 155
araktacaksurdvayam daksine khadgadhararh tarjampasahrdayasthavama-
kararh sitasarpayajnopavltarh vyaghracarmanivasanam nanaratnaviraci-
tabharanarh bhumilagnavamacaranam isadunnatadaksinacaranam
suryyaprabhamalinarh atrnanarh vicintya.. Aksobh^amukutinarh
dhyayat." Sadhanamala, p. 172.
"The worshipper should think himself as Sri-Candamaharosana,
whose colour is like that of the Atasi flower and whose second name
is Acala. He is one-faced, two-armed and is squint-eyed. His face
appears terrible with bare fangs. He wears a jewelled head-dress,
bites his lips and wears on his crown a garland of severed heads.
His eyes are slightly red, and he carries the sword in his right hand
and the noose round the raised index finger against the chest in
the left. His sacred thread consists of a white snake ; he is clad in
tiger-skin and he wears jewels. His left leg touches the ground
while the right is slightly raised. He is radiant as the sun and.. bears
on his crown the effigy of Aksobhya. Thus the god should be
meditated upon".
It should be noticed that the Dhvana is silent about the Sakti
in whose embrace the god should remain in yab-yum, but if the
Buddhist priests are to be believed and if the testimony of the
Nepalese Citrakaras has any value, it must be assumed that Candaro*
sana is always represented in yab-yum and should not be represented
singly. Candarosana is the most important figure in the celebrated
Candamaharosana Tantra dedicated to his worship. His worship
is always performed in secret and the god is kept secluded from
public gaze. Even if there be a bronze image it is practically inacces-
sible to any one except the initiated.
Fig. 124 illustrates a Nepalese drawing of the deity. As Acala and
Acala-Vajrapani he is popular in Tibet ' .
2. HERUKA
Colour— Blue Arms — Two
Symbols — Vajra and Kapala Variety — Single
Heruka is one of the most popular deities of the Buddhist pantheon
and a regular Tantra, the Heruka Tantra, is devoted to his worship.
Heruka is worshipped singly as well as in yab-yum. When he is
in yab-yum he is generally known as Hevajra and in this form he
is popular in Tibet, Many of his forms aie described in the Sadhana-
mala in its numerous Sadhanas, arid the additional ones are derived
from the Nispannayogavall of Abhayakara Gupta.
1. Getty: GNB, pp. 52 and 170. ~
156 -BUDDHIST ICONOGRAPHY
In the Sadhanamala the worship of Heruka is said to confer
Buddhahood on his worshippers, and he is said to destroy all the
Maras (mischievous beings) of the world* A Dhyana in verse in
the Sadhanamala describes his form in the following words ;
Savastharfa ardhaparyahkam naracarmasuvasasam I
Bhasmoddhulitagatranca sphuradvajranca daksinam II
Calatpatakakhatvahgam vame raktakarotakam I
Satardbamundamalabhih krtaharamanoramam II
Isaddamstrakaralasyam raktanetrarii vilasinam 1
Pihgorddhvakesam Aksobhyamukutam karnakundalam II
AsthyabharanavSobham tu siralvpancakapalakam I
Buddhatvadayinam dhyayat jaganmaranivaranarh II
Sadhanamala, p. 473.
'The worshipper should conceive himself as the god (Heruka) who
stands on a corpse in the Ardhaparyahka attitude. He is well clad in
human skin and his body is besmeared with ashes. He wields the Vajra
in the right hand and from his left shoulder hangs the Khatvahga with
a flowing banner, like a sacred thread. He carries in his left hand
the Kapala full of blood. His necklace is beautified by a chain of
half-a- hundred severed heads. His face is slightly distorted with bare
fangs and blood-shot eyes, His brown hair rises upwards and forms
into a crown which bears the effigy of Aksobhya. He wears a Kundala
and is decked in ornaments of bones. His head is beautified by five
skulls. He bestows Buddhahood and protects the world from the
Maras (wicked beings)'5.
In another Sadhana for the worship of this particular kind of
Heruka the Khatvahga is described as being marked with a Vajra of
five thongs and decorated with a banner with jingling bells, human
heads and double lotus, the lower part of the Khatvahga resembling
the Vajra with one thong. The Sadhana does not mention the number
of heads in the necklace, but says simply that they are strung with
guts. His left leg rests on the double lotus (and not on the corpse)
while the right is placed on the left thigh in a dancing attitude.
The image ( Fig. 125 ) discovered by Mr. N. K. Bhattasali and
deposited in the Dacca Museum, agrees in all details with the descrip-
tion given above. Though the hands are broken it can yet be discerned
that the right wielded the Vajra and the left carried the Kapala against
the chest. The attitude in which he stands is called the dancing
attitude in Ardhaparyahka. His head-dress in decorated with five
skulls and the effigy of Aksobhya. The Khatvahga has an overflowing
banner attached to it, and at the end of the banner small bells can
be seen.
EMANATIONS OF AKSOBHYA 157
3. HEVAJRA.
In the Hevajra Mandala of the Nispannayogavall, Heruka ij> the
principal deity, thus showing that their is only a very thin line of
demarcation between the two, Heruka and Hevajra , When Heruka
is accompanied with his Prajna, he begets the name of Hevajra. In
the Mandala no less than four distinct forms of Hevajra are described.
In all these Hevajra is accompanied with his Sakti whose name differs
according to the numbers of his hands.
( i ) Two-Armed
Colour — Blue Face— One
Arms — Two Prajna — Nairatma
When two-armed, Heruka gets the name of Trailokyaksepa and his
form is described in the following words :
"Trailokyaksepah krsno Ardhaparyanki ..ekamukho Jvibhujo
vajrahkitaraktapurnakapalabhrd-vamakarakrodita... Nairatma.. Vajrodd-
andasavyabhujah." NSP, p. 14
4 'Trailokyaksepa (Heruka) is blue in colour and dances m the
Ardhaparyahka attitude... He is one-faced and two-armed. With the
left hand carrying the skull cup, full of blood and marked with a
Vajra, he embraces his Prajna Nairatma... The right holding the Vajra
is raised*".
The same form is again described in the Sadhanamala which gives
the additional information that the Sakti carries the Kartri in the right
hand and the Kapala in the left ] .
(n) Four — Armed,
Colour — Blue Face — One
Arms — Four Prajna — Vajravarahi
When four-armed, Hevajra shows all the characteristics of the two-
armed variety with the difference that here the Prajna is known by the
name of VajravSrahi. His description in the Nispannayogavall is short
and is worded thus :
"Athava caturbhujo dvibhujavat. Aparabhujabhyam savabha-Vajra-
varahisamalingita ityeva visesah". NSP, p. 14
"Or, he may be four-armed and appear similar to the two-armed
form. In the two other hands he embraces his Sakti VajravarUhl of
his own creation. This is the only difference".
1. Sadhanamala, p. 462*
15tt BUDDHIST ICONOGRAPHY
In the Sadhanamala, one Sadhana is also devoted to the worship of
this particular form of Hevajra. Here also Hevajra is four-armed and
is embraced by his Sakti who is identical with him in all respects/
Hevajra carries in his four hands the blue Vajra, the sword, the Khat>
vahga and the jewel. The Khatvanga does not however hang from his
shoulder but is carried in one of his hands.
(ill) Six-Armed
Colour — Blue Face— Three
Arms -Six Prajna — Vajrasrnkhala
When Hevyjra is six-armed and in yab-yum his main form remains
the same, with the difference that here he is three-faced and six-armed,
carrying additional symbols. He is described thus :
"Athava Sadbhujah krsnah krsnasitaraktatrimukhah...Vamair-vajra'
ghantam dhanuh kapalam ca dadhanah savyair-vajram banam trisulam
ca vajravajraghantanvitahastabhyam svabha-Vajrasrhkhalamalihgitah. '
NSP. p. 14.
"Or, he (Hevajra) may be six-armed and blue in colour. The
principal, the right and left faces show blue, white and red colour. In
the three left hand& he holds the bell marked with a Vajra, the bow
and the skull-cup. In the three right hands he carries the Vajra, the
arrow and the trident. He embraces with the two hands carrying the
Vajra and the Ghanta the Prajna Vajrasrhkhalaj^f his own creation''.
ColourVBlu
Arms— Sixten Prajna— Nairatma
Legs — Hour
The fourth type of Hevajra according to Hevajra Mandala is sixteen-
armed and is alike in appearance with the three other forms described
before. The difference lies in his having eight faces and four legs ;
with his four legs he tramples upon four Hindu gods instead of
standing upon a corpse as in the three others. His form is described
rather elaborately in the Mandala in question as under :
"Caturtho Hevajrah sodasabhujo Aksobhyamudrito Nairatmasama
pannah. Kintvasya catvaro marah praguktasavasthane. Tatra Skandha-
maro rupato Brahma pltah, Klesamaro Visnuh krsno, Mrtyumaro
Mahesvarah subhro, Devaputramaro Sakrah gaurah. Tesu Bhagavan
dvabhyam Ardhaparyafikavan aparabhyam Alidhastha iti catuscaranah
krsno astasyah. Mukhantu mulam krsnaifa hasat savyam suklam,
EMANATIONS OF AKSOBHYA , 159
vamam raktam, urddhvam vikatadamstram sesam krsnani. Daksina-
bhujesu vajram khadgam banam cakram casakam trisulanvankusarh
ca ; vamesu ghantam, padmam, dhanur-udyatakhatvahgam, kapalam,
tarjanipasam ca." (NSP, pp. 14-15).
"Hevajra of the fourth* class is sixteen-armed and bears on his
crown the effigy of the Dhyani Buddha Aksobhya. He embraces his
Sakti Nairatma. Instead of the corpse under his legs as aforesaid,
he has four Maras under his four legs. The first is Skandha Mara in
the form of Brahma of yellow colour, the second is Klesa Mara in
the form of Visnu of blue colour, the third is Mrtyu Mara in the
form of Mahesvara of white colour, and the fourth is Devaputra Mara
in the form of Sakra of white colour. On them the four-legged god
stands with two legs arranged in Ardhaparyanka and two others in
Alldha. He is blue in colour and has eight faces. The principal
face is blue, the right has a smile and is white, the left is red, the
fourth is on the top of his head with distorted teeth. All other
faces are blue in colour. In the right hands he carries 1, the Vajra,
2. the sword, 3. the arrow, 4- the discus, 5. the wine-glass, 6, the
staff, 7. the Tusula, and 8. the goad. In the left hands the holds
1. the bell, 2. the lotus, 3. the bow, 4. the raised Khatvahga, 5. the
skull-cup, 6. the jewel, 7. the raised index finger and 8. the
noose-..",
Hevajra is popular in Tibet ] and China -.
4. BUDDHAKAPALA
Arms— Four Colour- Blue
Sakti — Citrasena Asana — Dancing in Ardhaparyanka
Only one Sadhana gives the description of this god, who is, in all
probability, another form of Heruka. The Sadhana says that when
Heruka is embraced by Citrasena he gets the name of Buddhakapala,
He has one face and four arms, and his hands hold the Khatvahga,
the Kapala, the Kartri and the Damaru ; he is embraced by his Prajna,
Citrasena, and remains in yab-yum. He is slightly different from the
four-armed variety of Heruka as the following Dhyana in the Sadhana
will show :
"Mahaviro ghorasamharakarakah mlavarno mahavapuh asthyabhara-
nam-afdhaparyahkanrtyastham mundamalavibhusitam mukute Akso*
bhyadharinam ekavaktram caturbhujam, vame Khatvahgakapalam,
daksine kartridamarukam Prajnalihgitam ; vame Citrasena matta
nagna muktakesi sarvabhayarahita devi."
lr -Getty * GNB, 142, 1431 " A Tibetan image is" illustrated in Gorden : ITL, p. 83.
2. TLP, II, p. 236. ••
160 BUDDHIST ICONOGRAPHY
Srimato Buddhakapalasya Sadhanam" Sadhanamala, pp. 501-502
"The worshipper should think himself as (Buddhakapala) who
is a great hero, the supreme destroyer, of blue complexion and
gigantic stature. He has ornaments of bones, stands in Ardhapa-
ryahka in a dancing attitude, is decked in garlands of heads,
bears the effigy of Aksobhya on the crown, is one-faced and four-
armed. He carries the Khatvanga and the Kapala in the left
hands and the Kartri and the Damaru in the right, and is embra-
ced in the left by the Prajna, Citrasena by name, who is intoxi-
cated, nude, and fearless, Thus meditating.. "
The same Sadhana later on gives the details of the Mandala,
and goes on to say that Buddhakapala is surrounded by twenty -
four goddesses arranged in three circles. The first circle has
Sumalim (blue) in the east, Kapalim (yellow) in the noith, Bhima
(green) in the west and Duija>a (white) in the south. The next
circle has Subhamekhala (east), Rupim (north), Jaya (west) and
Kauven (south) , KaminI (north-east), Mahodadhi (north-west)
Karim (south-west) and Marini (south-east). The outermost circle
has Bhimadarsana (east) Ajaya (north), Subha (west) OstarakI
(south) , Suraksmi (north-east), Vikalaratri (north-west), Mahayasa
(south-west) and Sundari (south-east). Besides these, there are the
four guardians of gates : Sundara (east) Subhaga (north), Priya-
dar&ana (west) and Nairatma (south). Excepting the four deities
of the innermost circle, all the goddesses have blue colour two
arms, one face, ornaments of bones, brown hair rising upwards
but no garlands of heads. They carry the Kapala in the left and
the Kartri in the right, and dance in the Ardhaparyahka attitude*
Fig. 126 illustrates a Nepalese drawing of the principal god in the
embrace of his Sakti Citrasena but without attendants. Buddhakapala
is represented in the Chinese collection at Peiping l. He is also
represented singly in a remarkable statuette in the Baroda Museum.
(Fig. 127).
5. SAMBARA
(i) Two-Armed
Colour — Blue Asana-— Alidha
Vahana— Kalaratri Symbols— Vajra and Ghanta
Prajna — Vajravarahi
One Sadhana only in the Sadhanamala describes the procedure for
the worship of Sambara who is only another form of Hevajra- He is
1. TLP, II. pp. 103, 237,
EMANATIONS OF AKSOBHYA 161
two-armed and one-faced, and bears the effigy of Aksobhya on
his crown. He appears terrible with his garment of tiger-skin, the
garland of heads, a string of skulls round the head, three eyes
and the Alidha attitude, in which he tramples, upon KalaratrL
The Dhyana is in verse and describes the god in the following terms :
"Lalatasthakapalani candrardham murdhni dharayet I
Sanmudra-mundamall ca visvavajri trilocanah II
Alidhapadavinyaso visvaksaravivartinim I
Sabhairavam Kalaratrimarudho vyaghracarmabhrt II
Aksobhyasekharah kubjo vajraghantajatanvitah 1
Viro'sau Vajravarahl vajrasrkpurnakapalabhrt II
Khatvangamekhala rakta trmetra mundamalim I
Pancamudra muktakesl digvastra Buddhasekhara II
Dvibhuja-Sambaropadesah samaptah "
Sadhanamala, p. 504
"The worshipper should think himself as Sambara with a string
of skulls over his forehead and the crescent moon on the top.
He wears the six auspicious ornaments and a necklace of heads.
He shows the Visvavajra [on his head-dressj and is three-eyed. He
stands in the Alidha attitude and originates from a combination of
all the letters of the alphabet. He trample** upon Bhairava and
Kalaratri and is clad in tiger-skin. He shows the effigy of Aksobhya
on his crown and is blue in colour. He carries the Vajia and the
Ghanta ; has matted hair, displays heroism and is embraced by his
Sakti Vajravarahi holding the Vajra and the Kapala full of blood.
Her girdle is the Khatvahga, her colour is red and she is three-eyed,
bhe wears a garland of severed heads, is endowed with the five
auspicious symbols, has dishevelled hair and no garment. She shows
the image of Buddha (Vairocana) on her crown."
Sambara has another form with four faces and twelve arnii> and in
this form he is mentioned in the Nispann ay OE avail.
(ii) Twelve- Armed
Colour — Blue Faces Four
Arms — Twelve Sakti— Vajravarahl
Sambara is the principal deity in the Sambara Mandala of the
HispannayogavalL The Sakti of Sambara is Vajravarahl. Sambara thus
*
162 BUDDHIST ICONOGRAPHY
is only another form of the great god Heruka. Here he is four-faced
and twelve^armed. The description is quoted below in brief :
**Bhagavan...BhairavakalaratryavalIdhacaranabhyam akrantah krsnah
krsnaharitaraktapitapurvottaradi-caturmukhah...Dvadasabhujah savajra-
vajraghantabhujayugmalingita-Vajravarahlko bhujabhyam...saraktaprasr>
tagajacarmadharah tadaparaih damaru-parasu-kartri-trisulani vibhrat,
vamairwajrankitakhatvafiga-raktapuritakapalaih vajrapasam Brahmasi-
rasca navanatyarasarasih." NSP, P. 26
"God (Sambara) ..stands in the Alidha posture on the prostrate forms
of Bhairava and Kalaratri. He is blue in colour and his four faces on
the east, south, west and north are blue, green, red and yellow in
colour.. He is twelve-armed. With the two principal hands carrying
the Vajra and Vajra-marked bell, he embraces his Sakti Vajravarahi.
With the second pair... he carries the elephant skin from which blood
trickles down. In the remaining four right hands he holds the Damaru,
the axe, the Kartri and the trident. The four left hands show the
Vajra-marked Khatvahga, the skull cup full of blood, the Vajra-marked
noose and the the severed head of Brahma... He displays in full the
nine dramatic sentiments".
The parental Dhyani Buddha of Sambara is Aksobhya and that of
Vajravarahi is Vairocana according to a statement contained in the
aforesaid Mandala J.
Sambara is popular in Tibet 2 and China •'.
6. SAPTAKSARA
Faces — Three Arms— Six
Asana — Alidha Prajna — Vajravarahi
This variety of Hevajra is called Saptaksara or 'seven-syllabled'
because his Mantra consists of seven syllables. Like Dvibhuja-Sambara
mentioned above, he is also embraced by Vajravarahi, who in all
respects resembles her consort. Like Sambara this god also tramples
upon Kalaratri and holds the Visvavajra on the crown. He has also
the crescent on his head, is endowed with the six suspicious symbols,
and stands in the Alidha attitude on the orb of the sun* He has three
faces of blue, yellow and green colour and carries the Vajra, the
Ghanta and the human skin in the three left hands and the Kapala
the Khatvahga and the TrisQla in the three right.
1. MSP, p. 28.
2. Two images oi Sambara are illustrated in A, K. Gordon : ITL, pp. 83, 84.
See also Getty : GNB, pp. 145. 150
3. As Sambararaja Buddha he is mentioned in Clark ; TLP, II, pp. 80 and 90.
EMANATIONS OF AKSOBHYA 163
The Sadhana further adds that on each of the six spokes of the
wheel of the sun on which the god stands there are six deities, namely,
(commencing from the right) Herukl, Vajravarahi, Ghoracandi, Yajra-
bhaskan, Vajraraudri and Vajradakinl. They have respectively blue,
yellow, red, green, smoky and white colour. All of them ha\e dis-
hevelled hair, fierce appearance, three eyes and the quarters as
garments. They carry the resounding Damaru and the Ghanta in the
first pair of hands, and the human skin in the other pair. They stand on
the orb of the sun placed on a corpse. Their head-dresses are decora-
ted with rows of skulls, and they stand in the Alidha attitude.
In another Sadhana devoted to the worship of Saptaksara, a slight
variation is noticed. In it, it is said that the god carries, in the first
pair of hands, engaged in embracing the Prajna, the Vajra and the
Ghanta ; m the second pair, the human skin only, and in the third
pair the Kapala and the Trisula. The Khatvunga hangs from his
shoulder as usual. Vajravarahi is identical with the Prajna men*
tioned before, with this difference that she should have in her second
pair of hands the bow and the arrow instead of the human skin.
1. MAHAMAYA
Colour— Blue Faces—Four
Arms — Four Prajna— Buddhdakinl
''Mahamayahvayam devam caturmukham caturbhujarh I
Ahke yasya tatha devi catasro diksu caparahM II
"The god called Mahamaya is four-faced and four-armed. He has
on his lap a goddess and four others in the four cardinal directions''.
Hevajra takes the name of Mahamaya when he is embraced by his
Sakti BuddhadakinI and remains with her in yab-yum. This variety of
Heruka, as the verse above indicates, has four faces and four arms and
is accompanied by four goddesses in the four cardinal points. Two
Sadhanas (Nos. 239, 240) in the Sadhanamala are devoted to the
worship of the deity, one of which is attributed to Kukkuripada
celebrated as one of the eighty- four Mahasiddhas who flourished
in early times. Below is given a summary of the description of the
Mandala of Mahamaya.
Mahamaya is terrible in appearance. His body is besmeared with
ashes and his hair streams upwards in the shape of a flame of fire.
He is blue in colour and his head-dress is decorated with a row of
skulls. His four faces are of blue, yellow, white and green colour,
and he carries in his four hands the Kapala, the arrow, the Khatvahga,
and the bow. He is endowed with five auspicious symbols, has a torque
round the neck and bracelets on his wrists* He is clad in human skin,
164 BUDDHIST ICONOGRAPHY
has three eyes in each head, and flames of fire radiate from his body.
He appears beautiful in his sentiment of mixed anger and delight, and
stands in the Ardhaparyanka in a dancing attitude. He is embraced by
Buddhadakim, who is red, carries the same weapons and has the same
appearance and symbols as those of Mahamaya. Her four faces are
red, yellow, white and green.
The four petals in the four cardinal directions of the lotus seat are
occupied by the following goddesses, '
(1) VajradakinI in the east, who is blue in colour with four faces
of blue, yellow, ,white and green colour, and carries the
Khatvahga and the Ghanta in the two left hands and the Vajra
and the Kapala in the two right.
(2) RatnadakinI of yellow colour is in the south, with four faces
of yellow, blue, red and green colour. She carries the flag
and the jackal in her two left hands and the Trisula and the
jewel in her two right.
(3) Padmadakim in the west is of reddish white colour, has
four faces of red, yellow, blue and green colour, and
carries the bow and the Kapala in her two left hands arid* the
arrow and the double lotus in the two right.
(4) Visvadakim in the north, of green colour, who has four faces
of green, yellow, red and blue colour, and who carries the
Pasa and the Kapala in her two left hands and the Khatvanga
(or the sword) and the Damaru in the two right.
These four deities exhibit wrath, have their heads decorated with a
number of skulls, have garlands of heads still wet with blood, three
eyes and portruding teeth. Their brown hair stream upwards in the
shape of a flame, and flames of fire radiate from their {persons.
In the Nispannayogavali, Mahamaya also finds mention and the
description given therein is quoted below :
"Mahamayahva-Herukah krsno-'rkaprabho.. nilapkasvetaharita-
mulasavyapascimavama-caturmukhah. . .savyabhujabhy am kapalasarau
vamabhyam khatvahgadhanusi dadhanah...ardhaparyahkena tandavi."
NSP.p.*22.
4*The form of Heruka called Mahamaya is blue in colour and resem-
bles the dazzling sun.... He is four-faced ; the principal face is blue, the
right yellow, the one behind is white and the left green. ...He holds in
his two right hands the skull cup and the arrow, and in the two left the
Khatvanga and the bow... He dances the Tandava dance in Ardha*
paryahka".
EMANATIONS OF AKSOBHYA 165
Mahamaya is known both in Tibet ] and in China •'.
8. HAYAGRIVA
Colour — Red Faces — Three
Arms — Eight Asana — Lahta
Appearance — Terrible.
[One form of Hayagrlva, as an emanation of Amitabha, has already
been discussed in the previous chapter, but there is another form of
the god that emanates from the Dhyani Buddha Aksobhya.J The
Dhyana describing him runs as follows :
"Arya-Hayagrivarh raktavarnurh trimukharh astabhuiarh prati-
mukharh trinetrarh nilasitadaksmetaravadanarh sarpabharanam lahtak-
sepapadanyasarh sakrodhadrstmiriksanam, prathamamukharh smerarh
lalajjihvarh, daksinamukharh darhstravastabdhaustharh, vyaghracarmam-
.vasanarh vajra-danda^karanamudra-sarodyatadaksinakaracatustayarh tar*
janika-svakucagraha-padma-dhanurudyatavamakaracatustavarh Aksobh-
yamaulinarh dhyayat/' Sadhanamala, p. 508.
[The worshipper should conceive himself as Arya-Hayagriva of
red colour, with eight arms and three faces, each face with three eyes.
His right and left faces are blue and white respectively and he has snakes
for ornaments. His legs are arranged in the Lahta attitude and he
looks wrathful. His first face has a smiling appearance, the right has
a protruding tongue and he bites his lips in his left. He is clad in
tiger-skin and shows in his four right hands the Vajra, the staff, the
Karana pose and the raised arrow. Of the four left hands, one has the
raised index finger, the second touches the breast and the two remain-
ing ones hold the lotus and the bow. He bears the effigy of Aksobhya
on his crown". I
Fig. 128 illustrates a Nepalese drawing of the deity. It vanes a
little from the description given in the Sadhana, /The hand that ought
to be touching his own breast displays a different mudra and the hand
that ought to display the raised index finger only has a noose round it.
Nevertheless, the sketch is important as it shows a miniature head of
a horse on the head, to show that he is really Hayagrlva "Horse-neck".
The rare Karana pose shown in the picture is noteworthy.
Hayagrlva is popular both in Tibet :i and in China4. Fig. 129 illus-
trates a Chinese statuette of Hayagrlva.
1. A. K. Gordon : 1TL, p. 83 ; Getty : GNB, p. 144.
2. Clark : TLP,II, pp. 82, 237.
3. A. K. Gordon : ITL, pp. 90, 93. Sec also Getty : GNB, p 163
4. Clark : TJLP, II. pp. 59. 164, 172, 198.
J66 BUDDHIST ICONOGRAPHY
9. RAKTAYAMARI
Colour — Red Face — One
Arms — Two Variety — YatvYum
Several Sadhanas in the Sadhanamala describe the manner
in which the deity should be worshipped. In one of the Sadhanas, it
\s said that the colour of the deity varies in accordance with the
different functions he has to discharge. For instance, in the Santikavi"
dhi (rite of pacification) the deity is white and faces the east ; in
Paustika rite he is yellow and faces the north ; in Vasyavidhi (rite of
subdviing) he is red and faces the west, and in Akarsana (attraction) he
is blue and faces the south, and so on. Of these varieties the red and
blue are the most popular ; in other words, his worship is mostly
performed with a view to enchanting men and women and to forcibly
subduing them and bringing them to the worshipper. When Yamantaka^
is red he is called Raktayaman and when he is blue he is called
Krsnayaman. Yamari or Yamantaka may either be worshipped alone
or in conjunction with his Prajna. He should have the head of a
buffalo on his shoulders and should ride a buffalo. Getty l
records a tradition current in Tibet which gives the origin of this
fearful god.
There was once a holy man who lived in a cave in deep meditation
for fifty years after which he was to enter Nirvana. On the night of
the forty-ninth year, eleventh month and twenty-ninth day two robbers
entered the cave with a stolen bull and slaughtered it there. But when
they discovered the presence of an ascetic, a witness to their crime,
beheaded him and lo ! his body assumed the ferocious form of Yama,
and taking up the bull's head he set it up on his headless shoulder.
He then killed the two robbers and drank their blood fiom the cup
made out of their skulls. In his fiery and insatiable thirst for victims
he threatened to depopulate the whole of Tibet. The Tibetans appealed
to their Tutelary deity, Manjusri, who thereupon, assumed the fierce
form of Yamantaka and defeated Yama in a fearful struggle
Whatever might be the truth of the tradition, it sufficiently explains
the presence of eulogies of Manjusri, in the Sadhanas for Yamantaka.
It may be noted, however, that the Sadhanamala is absolutely silent
about Yama, both as a principal deity or as an opponent of Yamantaka.
Yama is the god of Death amongst the Hindus. The Buddhists created
a killer of Yama in Yamantaka and it must have been an achievement
I. Getty : GNiB, pp. 152-153.
EMANATIONS OF AKSOBHYA 167
then. Under the title of Yamantaka he is known in Tibet l. Under
the title of Yamantakavajra he is found in China -.
Six Sadhanas are devoted to the worship of this variety of Yaman-
taka. He is one*faced and two-armed and is embraced by the Prajna
who is his own creation. The Dhyana describing ins form is as
follows :
**Atmanarh Yamantakarh ekamukharh dvibhujarh pratyalidhapadarh
raktaparipurnakapalavamakararh sardrapitamundankitasitadandadaksi-
nakararh nagabharanavibhusanarh pihgalordhvakesarh vyaghracarmam-
baradhararh Aksobhyamukutinam svabha-Prajnahhgitam mahisopari
visvadalakamalasuryastharh dhya> at. Bhagavatmca dvibhujaikamu-
khirh, vicitrabharanarh alidhapadasthitarh maduvihvalarh skhalad-
vyaghracarmamsukam Bhagavata sSaha samputayogena pratyalidhena-
vasthitarh evaih vicintya..."
Sadhanamala p. 530.
**The worshipper should tlnnk himself aj> Yamantaka, one-faced and
two-armed, who stands in the Pratyiidha attitude, carries the Kapala
full of blood in the left hand and the white staff surmounted by a
yellow head still wet with blood, in the right- He is decked in orna-
ments of snakes and his brown iiair rises upwards. He weais gar-
ments of tiger-skin, bears the image of Aksobhya on the crown,
and is embraced by his Svabha Prajna. He stands on the orb of the sun
over the double lotus on the back of a buffalo. He (the worshipper)
should also meditate upon the Bhagavati (Prajna) who is one-faced,
two-armed, and has variegated ornaments. She stands in the Pratya-
lidha attitude, is intoxicated with wine, wears garments of tiger-skin
which slips down her waist and remains in yab-yum with the god, both
standing in the Pratyalldha attitude. Thus meditating... ".
10. KRSNAYAMAR1
Colovn — Blue Varieties — Four
Eight Sadhanas in the Sadhanamala describe his different forms.
He may have one face and two arms, or three faces and four arms,
or three or six faces and six arms. One six-armed variety is des-
cribed also in the Nispannayogavali. Krsnayamari is represented
singly as well as in yab^yum. His different forms are dealt with one by
one in the following sections.
1, Getty : GNB, p. 164.
2. Clark : TLP, II, pp. 52, 73.
168 BUDDHIST ICONOGRAPHY
(i) T wo*- Armed
Colour — Blue Face — One
Arms— Two Variety — Single
Symbol — Staff
This twoarmcd form of Krsnayamari is without any companion.
The Dhyana in the Sadhanamala describes his form thus :
"Yamarim vicintayet atmanam pratyalldhapadasthitam ekamukham
dvibhujaifo nilavarnarh daksinakare vajrankitodyata-niladandam vama-
kare tarjampasam hrdi, evambhutam Yamarim. visvadalakamalopari
suryasthamahisarudham bhavayet/ Sadhanamala, p. 547
"The worshipper should conceive himself as (Krsna) Yaman who
stands in the Pratyalldha attitude, is one-faced, two-armed and of blue
colour. He brandishes the staff marked with a Vajra with the right
hand, and shows the raised index finger with the noose against the
chest in the left. In this form Yamari should be meditated upon
as standing on the orb of the sun on a double lotus and as riding a
buffalo/'
(ii) Four- Armed
Appeatance — Terrible Variety— Yab-yum
Faces- -Three Arms — Four
Companion — Prajna.
The form of Yamari with three faces and four arms looks terrible
and awe-inspiring. He is represented in yab-yum, and the Dhyana
describes his form in verse as follows :
'* ..Yamariratibhisanah 1
Kathoravarhikanthabhah savyasuklarunetarah II
Krodhaparyahkayogena visvabjaravisamsthitah I
Svabhavidyadharasvadarasayanamahasukhah II
Kadarordhvajjvalatkesah pingabhrusmasrulocanah I
Phamndravrndanepathyo mrnaladhavaladvijaih II
Mudgarasidharah savye vame rajivaratnadhrk" II
Sadhanamala, p. 544
4 'Yamari is terribly fierce, is of deep (blue) colour like that of the
throat of a peacock, and his right and left faces are of white and red
colour (respectively). He stands on the orb of the sun on a double
lotus in an angry mood. He enjoys the bliss of partaking the nectar
from the lips of the Prajna of his own creation. His hair stands on his
head in the shape of a flame of fire, and his beard and the eyes are of
brown colour. His ornaments are formed by the host of the lords of
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EMANATIONS OF AKSOBHYA 177
twice-born serpents who are white like stalks of lotuses. He carries
in his right hands the Mudgara and the sword, and in his left the lotus
and the jewel".
(iii) Six-Armed
Asana — Alidha Faces — Three or Six
Arms — Six Variety — Single
The form of Yamari with three faces and six arms, is fierce in
appearance as the previous ones, and is single. He is three-faced, and all
his faces show a protruding tongue, canine teeth, three eyes, and
contorted brows. He has a big belly, is short and dwarfish m appear-
ance and wears a garment of tiger-skin. He carries the Vajra, the
sword and the Musala in his three right hands and the goblin (Vetali)
the axe and the lasso m his three left According to another state-
ment in the Sadhana, he carries the sword, the Mudgara and the
Vajra in the three right hands and the Ghanta, the Vajrapasa and the
Musala in the three left. The same Sadhana further says that though
he is represented generally as three-faced and six-armed, he may also
have six faces and six legs, with the same weapons. The Dhyana for
the worship of this six-faced and six-legged variety of Yamantaka
runs as follows :
"Yamantakam kruddham urdhvakesarh krsnarh sanmukharh sad-
bhujam satcaranam mahisarudham pratyahdhasthitaih naramundarun-
dairvibhusicam atihhayanakakararh vyaj*hracarmamvasanam daksine
khadga-mudgara-vajrani, vame ghanta-vajrapasa-musalan dharayantam
mukute Aksobhyam vibhavayct". Sadhanamala, p. 546
*The worshipper should conceive himself as Yamantaka, with an
angry mood whose hair rises upwards and who is six-faced, six-armed
and six-legged. He rides a buffalo, stands in the Pratyalldha attitude,
is embellished with severed human heads, and has a very ferocious
appearance. He is clad in garments of tiger-skin, carries in the three
right hands the Khadga, the Mudgara and the Vajrd, and in the three left
the Ghanta, the Vajrapaba and the Musala. He bears the effigy of
Aksobhya on the crown/*
Yaman of blue colour is the principal deity in the Yamari Mandala
of the Nispannayogavali. Here his form is three-faced and six*armed
like the one previously described. The description may be briefly given
thus :
"Krsna-sita-rakta'mula-savya-vamavadanah sadbhujah kartrikapa-
lancita-Sdvyetarakarabhyam svabhaprajnasarnalihgitah savyabhyam
vajrasi vamabhyam cakrabje vibhranah". NSP, p. 36
23
178 BUDDHIST ICONOGRAPHY
"Yamari's three faces show the blue, white and red colour in the
principal, the right and the left. He is six-armed. In the principal
pair of hands carrying the Kartri and the Kapala he embraces the
Prajna of his own creation. In the two remaining right hands he
carries the Vajra and the sword, and in the two left he carries the
discus and the lotus."
As Yamantakavajra he is known in China l and two statuettes of
his are illustrated in Two Lamaistic Pantheons of Clark.
11. JAMBHALA
Faces —Three Arms— Six
Variety — Yab-Yum
Jambhala has undoubtedly a greater antiquity behind him than that
of the five Dhyani Buddhas. Jambhala again is a Yaksa and that
indicates his non-Buddhist origin. This may be one of reasons why
he could not be assigned to any one as parental Dhyani Buddha. In
other words Jambhala is similar to ManjusrI whose sire also could not
be definitely determined. In the Sadhanamala the parental Dhyani
Buddha of Jambhala is either Ratnasambhava or Aksobhya. Images
of Jambhala are to be met with in the Gandhara, Mathura, Sarnath,
Magadha, Bengal and Nepal sculptures. For the purpose of this
section, however, the form emanating from Aksobhya is important.
Here he is three-faced and six-armed and is represented in yab-yum.
Though the Dhyana does not mention the colour, it can be presumed
that his colour is blue which is the colour of the Dhyani Buddha
Aksobhya from whom he takes his origin. Jambhala as the god of
wealth commanded great respect amongst the Buddhists, and received
worship in various forms in all Buddhist countries. The Dhyana in
the Sadhanamala describes his six-armed form as follows :
"Jambhalarh trimukharh sadbhujarh Aksobhyajatamukutinarh daksi-
natribhujaih matulunga-nkusa-banadharam prathamavamabhujaikena
vama-parsvasthita-Prajnalingitam aparavamabhujabhyarh sapasanakuli-
karmukudhararh atmanarh nispadya../' Sadhanamala p. 564
'The worshipper should conceive himself as Jambhala, three-faced
and six-armed, on whose matted hair there is an image of
Aksobhya. He carries in his three right hands the citron, the goad
and the arrow. He embraces the Prajna with the first left hand, carries
the mongoose tied round with a lasso and the arrow respectively in
the second and the third. Thus meditating...".
1* TLP, Vol. II, pp. 52, 73. For a Tibetan specimen see Gordon : ITL, p. 90
EMANATIONS OF AKSOBHYA 179
Jambhala is known in Tibet ]. Two statuettes of the six*armed
Jambhala are to be found in the Chinese collection at Peiping -.
12. UCCHUSMA-JAMBHALA
Appearance — Terrible Vahana—Kuvera vomitting jewels
Asana — Pratyalidha
Ucchusma also called Dimbha, being a variety of Jambhala, bears
also the imag^ of Aksobhya on his crown. He may however, have the
image of Ratnasambhava instead, and as an emanation of Ratnasanv
bhav a Jambhala will be described later. Several Sadhanas are devoted
to his worship, and the Dhyana describing him with the image of
Aksobhya on his crown runs as follows :
"Atmanam Bhagavantam Ucchusmam pancavarsakumarakrtim
kharvarh visvapadmastham candropari sarpabharanabhusitarh ratna-*
mukutim muncad^ratnamukhapitahgasupta-Dhanadasya lalatam daksi-
nena caranena caranadvyarh vamenakrantamurtim pratvalidhapadam ;
nagnarh urdhvalihgarh lambodaram ; hrdi daksinapanistharaktapur-
nakapalabhimukhadrstim ; vamajahghasaktavamakarena ratnacchatod'
garyyadhomukhanakullm aviddhadhollakarnadvayarh ardhendu [sekha-
ram] damstrakaralavadanam raktavarttulatrinetrarh krtabhrkuti lalatam
pihgordhvakesarh Bhusparsamudra'nil'Aksobhyamunimastakarh...M
Sadhanamala, p. 577.
uThe worshipper should meditate himself as the god Ucchusma,
who appears a child of five years and is dwarfish. He stands on a
double lotus on the moon, is decked in ornaments of snakes and has
a jewelled headdress. He stands in the Pratyalidha attitude and
presses with his right leg the forehead of the sleeping Dhanada of yellow
colour with his mouth vomitting out jewels. His left leg rests on the
two legs (of Dhanada). He is nude, and his membrum virile is pointed
upwards. He has a protruding belly, and has his eyes fixed on the
Kapala full of blood which he carries in his right hand against the
chest. He holds in his left hand the mongoose vomitting out jewels,
on his left thigh. His ears are large and unpierced and he has a crescent
on his crown. His face is distorted with bare fangs, and his three eyes
are red and round. His brows are distorted, and his brown hair rises
upwards. He bears on his crown the image of Aksobhya of blue
colour displaying the earth-touching attitude*'.
1. Getty : GNB, p 159.
2, Clark : TLP, II, p. 310 under the title of Sadbhuja Jambhala, and on p. 203 as
Sadbhuja Jambhala vajra.
180 BUDDHIST ICONOGRAPHY
The Sarnath image (Fig. 130) illustrates this form of Jambhala
standing on Dhanada or the Hindu god of wealth. Streaks of jewels
may be noticed as coming out of Kuvera's mouth. The peculiar
feature of this sculpture is that here Dimbha is accompanied by his
Sakti Vasudhara.
13. VIGHNANTAKA
Asana — Pratyalidha Colour — Blue
Symbols — Tarjanlpasa and Vajra
Vighnantaka is closely associated with three other gods, Padmantaka,
Yamantaka, and Prajnantaka, who are generally represented as
guardians of the gates in the Mandala. Vigtmantaka is represented
in various forms. The name is significant as the word "Vighna" or
"obstacle" refers to the Hindu god Ganesa. Only one short Sadhana
in the Sadhanarnala describes his form in the following terms :
"Atmanarh pratyalldhapadasthitarh ekamukharh dvibhujarh nilava-
rnarh varnakarena tarjanikapasam, daksinakarenodyatavajrarh bhayana-
karh pihgalordhvakesam.
Vighnantakasadhanam.'' Sadhanarnala, pp. 558-559.
"The worshipger should conceive himself as (Vighnantaka) who
stands in the Pratyalidha attitude, is one-faced, two-armed, and blue
in colour. He carries in his left hand the Tajampasa, and wields the
Vajra in the right. He is terrible in appearance and his brown hair
rises upwards. His seat is on the orb of the sun placed on a lotus".
This Sadhana is silent about the prostrate figure of Ganesa whom
he tramples under his feet, thereby giving significance to his name as
already indicated. It may be pointed out here that the god Ganesa,
whom the Hindus consider to be the remover of all obstacles, is
regarded as the most dangerous obstacle by the Buddhists ! As to the
origin of this god there runs a Nepalese legend that at a certain time an
Odiyana Pandit was performing a Tantric rite on the bank of the
Baghmati river near Kathmandu in order to obtain Siddhi (perfection).
-Ganesa, it is said, being strongly opposed to the idea, began throwing
dangerous obstacles in the way of the due performance of the rite.
The Odiyana Pandit finding himself helpless, invoked the god Vighnan-
taka, the destroyer of all obstacles, and lo ! Vighnantaka appeared in
a fierce and terrible form, armed with destructive weapons and gave
hot chase to Ganesa, who was by this time, flying in terror, and in 'no
time overcame the latter.
EMANATIONS OF AKSOBHYA 18 1
In the statuette illustrated in Fig. 131 it may be seen how Vighnantaka
is trampling heavily on Ganesa and the latter, in order keep up the
dignity of his godhead, exhibits the Abhaya pose even in his agony!
The form in which Vighnantaka is said to have appeared before the
Odiyana Vajracaryya has six arms. He carries in his two principal
hands the Kartn and the Kapala against the chest ; the rest carry the
Damru and the goad in the right, and the Trisula and the noose with
the TarjanI in the left,
The original image is in the Baroda Museum collection. Vighnan-
taka is known also to the Chinese collection at Peiping l.
14* VAJRAHUNKARA
(i) Two-Armed
Appearance — Terrible Symbols — Vajra and Ghanta
Mudra — Vajrahuhkara Arms — Two
Asana — Pratyalidha Vahana — Siva
Only one Sadhana in the Sadhanamala describes the form of the
god Vajrahuhkara, who is so-called because his two hands carrying the
Vajra and the Ghanta exhibit the Vajrahuhkara mudra. The Sadhana
says that the god originates from the sacred syllable 'Hum' which is
irresistible like the Fire of Destruction, is blue in colour, and dazzlmgly
bright. The Sadhana adds further :
"Tadutpannam maharaudrarh Vajra hunk ara-samjnak am I
Attahasarh maharaudrarh ksepayantarh tridhatukarh II
Ghantavajraprayogena mudrabaddhakaradvayarh I
Pratyalldhapadenaiva Bhairavakrantabhlkararh" II
Sadhanamala, p. 506
''The worshipper should conceive himself as the god Vajrahuhkara,
who originates from that syllable (Hum) and is terribly fierce in
appearance. He laughs horribly, is wrathful, und disturbs the three
worlds. His two hands carrying the Ghanta and the Vajra are locked
in the Vajrahunkara mudra. He tramples upon Bhairava, in the
Pratyalidha attitude, and inspires awe."
It may be pointed out that though Vajradhara also displays the
Vajrahuhkara mudra and carries the Ghanta and the Vajra in exactly
the same way as Vajrahuhkara does, there are many differences between
their forms* Vajradhara sits in the Vajraparyahka attitude on a lotus
and has a peaceful and graceful appearance, while Vajrahuhkara stands
T~ Clark ; TLP, II, pp. 217, 311* ~~
162 BUDDHIST ICONOGRAPHY
in the Pratyalidha attitude, tramples upon Bhairava, a form of the
Hindu god Siva, and has a terrible appearance. No connection can,
therefore, be established between the two.
Vajrahunkara images are known to the Chinese collection at Peiping l
although they are not generally found in India.
(ii) Six-armed
Colour — Blue Faces — Three
Arms — Six
Vajrahunkara is the principal deity in the Vajrahunkara Mandala of
the Nispannayogavali, and is identified with Trailokyavijaya, He is
three-faced and six-armed. With his two principal hands arranged in
the Trailokyavijaya L> mudra and holding the Vajra and Ghanta he
embraces the Prajna of his own creation. With the two remaining
right hands he holds the goad and the noose, and with the two left he
shows the skull-cup and the Khatvanga :>>
As Vajrahunkara and Trailokyavijaya he is known m China 4
15. BHUTADAMARA
Colour— Black as collyrium Appearance — Terrible
Arms — Four Mudra — Bhutadamara.
Three Sadhanas in the Sadhanamala describe the form of Bhutd-
damara, who is terrible and awe-inspiring, with ornaments of snakes,
canine teeth, and garlands of skulls. The Dhyana runs as follows :
"Atmanarh pasyet raudram jvalamalakulaprabham 1
Caturbhujam rrahakrodharh bhinnanjanasamaprabham II
Daksine vajramullalya tarjayan vamapamna I
Damstrakaralavadanam nagastakavibhusitam II
Kapalairfalamukutam trailokyam api nasanam I
Attahasam mahanadaih trailokyadhisthitam prabhum II
Pratyalldhasusamsthanam adityakotitejasam I
Aparajitapadakrantam mudrabandhena tisthati II
Bhutadamara*sadhanarh." Sadhanamala, p. 521
(%The worshipper should conceive himself as (Bhutadamara) who is
wrathful in appearance and whose person radiates fiery flames. He
is four*armed, terribly angry, and is bright like a broken lump of
L Clark: TLP, II, pp, 238, 314
1, Probably the fame as the Vajrahunkara mudra* For a description of this
mudra see Gordon : ITL, p. 22
3. NSP, p. 24
4. Clark: TLP, II, pp. 238, 314
EMANATIONS OF AKSOBHYA 183
collyrium. He weilds the Vajra in the right hand and shows the Tarjam
in a threatening attitude in the left. His face appears terrible with bare
fangs and he is decked in ornaments of eight serpents. He has the
garland of skulls on the crown and is capable of destroying the three
worlds. He stands firmly in the Pratyalidha attitude and is resplen-
dent like myriads of suns. He tramples under his feet, the god
Aparajita, and exhibits his special mudra/
From the Dhyana above quoted it will appear that the two principal
hands of the god exhibit the Bhutadamara or the Damara mudra l
while the other two carry the menacing Vajra in the right and the
Tarjam in the left. The description of this mudra appears in the
same Sadhana.
Bhutadamara is the principal deity in the Bhutadamara Mandala of
the Nispannayogavali. Hert he tramples upon the prostrate form of
Aparajita, and is violent in appearance. He is four-armed. He wieids
the Vajra in the right hand raised m a menacing attitude. In the left
he shows the Tarjam and the noose. With the two principal hands, he
shows the Damara mudra -.
According to statement in the Nispannayogavali the spiritual father
of Bhutadamara is Aksobhya (Atra cakresasya kuleso'ksobhyah,
NSP.p. 74).
He is known in China under the name of Bhutadamara Vajrapani J.
16. VAJRAJVALANALARKA
Colour — Blue Faces— Four
Arms — Eight Asana — Alidha
Vahana — Visnu and his wife.
Only one Sadhana in the Sadhanamala describes his form. He is
four-faced, eight-armed, stands in the Alidha attitude, and tramples
upon Visnu, who is accompanied by his wife. He is blue in colour
and has a terrible appearance. The Dhyana describes him in the
following terms :
"Vajrajvalanalarkarh mlavarnam jvalamalakulaprabham caturmu-
kham astabhujam srfxgara-vira-bibhatsa-karunanvitacaturmukham, ca-
turbhir-daksinakarair-vajra-khadga-cakra-banadhararh caturvamakarair-
ghanta-capa-pasa-khatvahgasaktavicitrapatakadharam jvaladanalakapila-
sikhakalapamatibhlsanamahahivalaya-kankana-katisutra-nupura-"kanthi^
1. For a description of this mudra see Gordon: ITL, p. 20 and for a picture,
ibid, p. 62.
2. For further information on the subject, see Bhattacha^yya, B ; The Cult of
Bhutadamara in the Proceedings of Patna Oriental Conference.
3. Clark: TLP, II, pp. 242, 152
184 BUDDHIST ICONOGRAPHY
ka-kundala-mukutabharanam mahamayacakraracanacaturam sapatmkair
Visnum-alidhapadena akramya avasthitam bhavayet."
Sadhanamala p. 512
"The worshipper should conceive himself as Vajrajvalanalarka of
blue colour, whose person radiates fiery flames* He is four-faced and
eight-armed, and his four-faces display the sentiments of love, heroisnij
disgust and compassion. He carries in his four right hands the Vajra,
the sword, the Cakra and the arrow, and in the four left the Ghanta,
the bow, the noose and the Khatvanga surmounted by a banner of varie-
gated colour*-. His brown hair resembles a burning flame and he is
decked in ornaments of bracelet, armlet, girdle, nupura, torque, ear-ring
and crown consisting of the (eight) great lords of the frightful ser-
pents. He stands in the Alidha attitude and tramples upon Visnu
with his consort who are clever in enveloping everything with their
great Maya (deception).
17. TRAILOKYAVIJAYA
Colour — Blue Faces — Four
Arms—Eight Asana — Pratyalidha
Vahana — Gauri and Siva
Trailokyavijaya is also of blue colour, terrible in appearance, and
awe-inspiring. Two images of this divinity have been noted by Prof.
Foucher, one from Java and the other preserved m the monastery of
the Hindu Mohant at Bodh Gaya. The Dhyana describes his form
in the following words :
''Trailokyavijaya-Bhattarakam rnlam caturmukham astabhujam ;
prathamamukham krodhasrhgaram, daksmam raudram, vamarii bibhat-
sarh, prstharh virarasam ; dvabhyam ghantavajranvitahastabhyam hrdi
vajrahunkaramudradhararh ; daksinatrikaraih khatvahgankusabana-
dharam, vamatrikaraih capapasavajradharam ; pratyalidhena vama*
padakranta-Mahesvaramastakam daksinapadavastabdha-Gaunstanayuga-
lam ; Buddhasragdamamaladivicitrambaiabharanadhannam atmanam
vicintya..." Sadhanamala, p. 511.
"The worshipper should meditate himself as Trailokyavijaya
Bhattaraka of blue colour, four- faced and eight-armed. His first face
displays the sentiment of wrathful passion, the right rage, the left
disgust, and the face behind the sentiment of heroism. He exhibits
the Vajrahuhkara mudra with the two hands bearing the Ghanta and
the Vajra against the chest. He carries in his three right hands the
Khatvanga, the goad and the arrow, and in the three left the bow, the
EMANATIONS OF AKSOBHYA 185
noose and the Vajra. He stands in the Pratyalldha attitude, tramples
upon the head of Mahesvara with his left leg, while the right presses
upon the bosom of Gauri. He wears garments of variegated colours,
and many ornaments and garlands assigned to the Buddhas. Thus
meditating..."
This god is known in Tibet l and China -.
is. PARAMA£VA
Faces — Four Arms — Eight
Legs— Four Vahana Four gods and four
goddesses
It has already been said that Paramasva "Great Horse" is another
form of Hayagrlva "Horse-Neck" as the word "asva" in Paramasva
indicates. In the Sadhana it is said that he should have four faces,
but in reality he has seven faces, for one of his faces is said to be
Brahmamukha, or the face of Brahma, who is credited with four faces.
The other peculiar feature of this god is that he has four legs, each
trampling upon two deities. The Dhyana contained in the Sadhanamala
is quoted below :
'Taramasvam raktam caturmukham astabhujam catuscarnam ;
prathamamukham krodhasrhgararh trilocanam, daksinam raudram,
vamam Brahmamukham murdhni lalitoddhulitosthamharitasvamukham ;
ekena daksinatripatakadharakatena visvavajrasahitenottisthabhinayam
kurvantarh ; ekena vamakhetakahastena visvapadmam dharayantam ; pu-
nardaksinatripatakakarena uttisthabhinayam kurvantam punarvamaka-
rena saktim dharayantam ; punardaksinakarabhyam khadgam bananca,
avasistavamakarabhyarh dandam capanca dharayantam. Pratyalldhena
daksinapadaikena Indramm Sriyanca akramya sthitam, dvitiyodaksi-
nacaranena Ratim Pritinca vamaprathamapadena Indram Madhu-
karanca, vamadvitlyapadena Jayakaram Vasantanca, ityatmanam
dhyayat..." Sadhanamala, pp. 510-511. -
"The worshipper should think himself as Paramasva, of red colour
four^faced, eight*armed and four-legged. The first face with three eyes
displays angry passion, the second depicts wrath, the third is the face
of Brahma, and the fourth on the top is green, distorted like a horse
with its lower lip beautifully protruding. He weilds the double Vajra,
in one of his right hands with three fingers erect (TripatakaJ and in one
of his left hands carries the staff with the double lotus. Another
1. Gordon J ITL, p. 60 ; See also Getty GNB, p.
2, Clark : TIP, II, pp. 116. 168.
24
186 BUDDHIST ICONOGRAPHY
right hand, with three fingers erect, is raised upwards, and the other left
carries the Sakti (dart). The remaining two right hands carry the
Khadga and the arrow, and the remaining left carry the staff and the
bow. He stands in the Pratyalldha attitude, and tramples with one of
his right legs upon Indram and Sri, and with the second Rati and
Prlti ; with one of the left legs Indra and Madhukara, and with the
other left Jayakara and Vasanta".
Fig. 132 illustrates a Nepalese drawing of the deity Paramasva. In
the picture the horse-head is noteworthy, which also occurs in the case
of another god, Hayagnva.
19. YOGAMBARA.
Colour — Blue Faces — Three
Arms — Six Variety — Yab-Yum
oakti — Jnanadakini
God Yogambara is the principal deity of the Yogambara Mandala or
the Nispannayogavall. His form is there described in the following
words :
"Simhopari visvambhojacandre ardhaparyarikanisanno Bhagavan
Yogambarah krsnah krsna-sita-rakta-mulasavyavamamukhatrayah. . .
sadbhujo vajravajraghantabhrdbhujabhyam krsnam suklam va Jnana-
dakinim pltabhujangabhusanamalihgitah savyabhyarh stanabanau
vamabhyarh abjabhajanadhanusl dadhanah" NSP, p. 32.
"Yogambara sits in Ardhaparyanka on the moon on a double lotus
placed on a lion. He is blue in colour and is three* faced. His
principal face is blue, the right white and the left red. He is six^armed.
In his two principal hands carrying the Vajra and the Vajra-marked
bell he embraces his Prajna Jnanadakini who is either blue or white
in colour, and is decked in ornaments of snake. In the remaining
two right hands he holds the breast and the arrow, and in the two left
he shows the lotus bowl and the bow "
The blue colour of the deity shows that Yogambara belongs to the
family of the Dhyani Buddha Aksobhya. Yogambara is known in
China '. His Chinese statuette is illustrated in Fig. 133.
20. KALACAKRA.
Colour — Blue Faces — Four
Arms — Twenty-four
Kalacakra is the principal deity in the Kalacakra Mandala of the
NispannayogavalL The famous Tantra of the Buddhists called the
1. Clark :TLP, II, pp. 239, 81, 103
EMANATIONS OF AKSOBHYA 187
Kalacakra Tantra introduces the cult of Kalacakra into Buddhism.
Vimalaprabha is the commentary on the Kalacakra Tantra which is
referred to in the Nispannayogavall. It is thus probable that the cult
of Kalacakra came into vogue in the 10th century. According to the
Kalacakra Tantra, the cult was given the name of Adibuddhayana or
Adiyana. From the Vimalaprabha it is evident that by introducing the
worship of Kalacakra, the circle of time, an attempt was made to
bring the warring communities of the Hindus and the Buddhists under
the same banner, and unite them against the cultural penetration
of the Mlechhas from the Western borders of India where the
followers of Islam were daily growing strong and were destroying old
and ancient civilizations.
The form of Kalacakra as described in the Nispannayogavall is
elaborate and somewhat grotesque. But it is necessary to give an idea
of his form as briefly as possible. He is here described thus :
"Uttananahgarudrahrdayayoralidhena nrtyan Bhagavan Kalacakrah
krsno.,..vyaghracarmambaradharo dvadasanetrascaturmukhah....trigrlvo
bhagavan . • satskandho'sau. . .dvadasabahurupabahutah prabhrti catur-
vimsatisahasrah. Tatra daksinau dvau bahu miau dvau raktau dvau
suklau tatha vamau evam karascatvarah.-.savya vamasca...
Daksinesu karesu krsnesu vajra^khadga-trisula-kartrikah ; raktes-
vagni*bana*vajr'5nkusah ; suklesu cakra^kunta-danda-parasavah.
Vamesu krsnesu ca vajra-ghantaphalake vikasitamukhakhatvahgaih
raktapurna-kapalam ca ; raktesu kodandapasau maniratnaih pundarl-
kam ca ; suklesu darpana'vajra'Srhkhala'Brahmasirasca.''
NSP, pp. 83^84.
"God Kalacakra dances in Alidha attitude on the bodies of Anahga
and Rudra lying on the back. He is blue in colour. He wears tiger-skin
and has twelve eyes and four faces. He is endowed with three necks
and six shoulders. With the principal twelve hands on each side
and the subsidiary hands, the total number of his hands is twenty-four
thousand. Two of his right hands are blue, two red and two white.
The hands are similar in the left. Thus along with subsidiary hands,
four are blue, four red and four white. They occur both in the right
and in the left.
In the four right hands of blue colour are held the Vajra, the sword,
the Trisula and th^ Kartri. In the four hands of red colour are fyeld
the Fire, the arrow, the Vajra and the Ahkusa. And .in the three
white hands are shown the discus, the knife, the rod, and the axe.
188 BUDDHIST ICONOGRAPHY
In the four left hands of blue colour are shown the Vajra-marked
bell, the plate, the Khatvanga with the gaping mouth, and the Kapala
full of blood. In the four hands of red colour can be seen the bow,
the noose, the jewel and the lotus. In the four hands of white colour,
there are the mirror, the Vajra, the chain and the severed head of
Brahma/'
Kalacakra is known to the Chipese collection and a presentation of
his form is given in the Two Lamaistic Pantheons. Images or paintings
pf Kalacakra are rarely found in India. He is popular in Tibet i as
,well as in China ~. Fig. 134 illustrates a Nepalese drawing of Kalacakra.
The blue colopr of the god suggests that his spritual sire is Aksobhya.
1. Getty : GNB, p. 146. A full description and a fine picture are given in Gordon :
ITL, pp . 84, 85.
2, Clark : TLP, II, pp. 49, 233*
CHAPTER VII
EMANATIONS OF AKSOBHYA (CONTINUED)
II. GODDESSES
Compared to the other Dhyani Buddhas the number of goddesses
emanating from the Dhyani Buddha Aksobhya is large. Some of the
goddesses are well known and popular in the Buddhist countries of the
north but many Sadhanas are not assigned to them. It has already been
pointed out that the emanations of this Dhyani Buddha are, as a
rule, terrible in appearance and awe-inspiring in character. The
goddesses emanating from Aksobhya are likewise blue in colour, and
partake of the fierce nature of the male divinities. The genuinely
peaceful and benign deities such as Prajnaparamita and Vasudhara
are exceptions to the rule. The goddesses emanating from the Dhyani
Buddha Aksobhya are described below one by one. /
1. MAHACINATARA ^
Asana — Pratyalidha Appearance — Terrible
Vahana — Corpse Arms — Four
Two Sadhanas are devoted to the worship of Mahacinatara or Tara
of Mahacina (Great China) and two Dhyanas, one in prose and the
other in verse describe one and the same form of the goddess. She is also
known in Buddhist Tantric literature as Ugratara, and the Vajrayogini
temple at Sanku in Nepal, contains in the sanctum a figure of Ugratara.
This Ugratara or Mahacinatara of the Buddhists has been incorpora^
ted in the Hindu pantheon under the name of Tara, and is now regard-
ed as one of the ten Mahavidya goddesses. The Dhyana in the
Sadhanamala describes her form in the following verses :
"Pratyalldhapadarh ghoram mundamalapralambitam I
Kharvalambodaram bhimam nilanirajarajitarh II
Tryambakaikamukharh divyam ghorattahasabhasuram I
Suprahrstam savarudham nagastakavibhusitam II
Raktavarttutanetranca vyaghracarmavrtam katau I
Navayauvanasampannam pancamudravibhusitam II
Lalajjihvam mahabhimam sadamstrotkatabhisanam I
Khadgakartrikaram savye vamotpalakapaladharh II
Pihgograikajatam dhyayat maulav-Aksobhyabhusitam II
Mahacinatara- Sadhanam", Sadhanamala, p, 210
190 BUDDHIST ICONOGRAPHY
'The worshipper should conceive himself as (Mahacma-Tara) who
stands in the Pratyalldha attitude, and is awe-inspiring with a garland
of heads hanging from the neck. She is short and has a protruding
belly, and her looks are terrible. Her complexion is like that of the
blue lotus, and she is three-eyed, one-faced, celestial and laughs horribly.
She is in an intensely pleasant mood, stands on a corpse, is decked in
ornaments of snakes, has red and round eyes, wears the garments of
tiger-skin round her loins, is in youthful bloom, is endowed with the
five suspicious symbols, and has a protrudiug tongue. She is most
terrible, appears fierce, with bare canine fangs, carries the sword and
the Kartri in the two right hands and the Uptala and the Kapala in the
two left. Her Jatamukuta of one coil is brown and fiery and bears the
image of Aksobhya within it."
This is the Dhyana in the Sadhanamala, the earliest manuscript of
which belongs to A. D. 1165. According to the colophon, the Sadhana
for Mahaclnatara has been restored from the Mahacina-Tantra, which
should therefore be earlier than the earliest extant manuscript of the
Sadhanamala. As the Sadhana in verse is attributed to Sasvata-
vajra it is certain that the Dhyana, just quoted, was not in existence
before Sasvatavajra. Now, in the Tararahasya of Brahmananda, who
flourished in the middle of the 16th century and in the Tantrasara of
Krsnananda Agamavaglsa an almost identical Dhyana is stated descri-
bing a goddess of the name of Tara :
"Pratyalidhapadam ghoram mundamalavibhusitam I
Kharvam lambodanm bhimam vyaghracarmavrtam katau II
Navayauvanasampannam pancamudravibhusitam I
Chaturbhujam lolajihvam mahabhimam varapradam II
Khadgakartrisamayukta-savyetarabhujadvayam I
Kapalotpalasamyuktasavyapaniyuganvitarh II
Pingograikajatam dhyayenmaulav-Aksobhyabhusitam I
Balarkamandalakaralocanatrayabhusitam II
Jalaccitamadhyagatam ghoradamstram karalinim I
Savesasmeravadanam stryalahkaravibhusitam II
Visvavyapakatoyantah svetapadmoparisthitam I
Aksobhyadevlmurdhanyastrimurtirnagarupadhrk" II
Tantrasara, p» 415 et sqq.
A comparison of the two Dhyanas will at once reveal how the
original composition of Sasvatavajra has been modified in the Tantra-
sara by a Hindu Tantric author. Some lines have' been added to the
original Dhyana and all grammatical errors are rectified. f This is
evidently the recognized method of Hinduizing a Buddhist Tantric deity.
EMANATIONS OF AKSOBHYA (CONTINUED) 191
It is remarkable that the Hindus retained in their Dhyana the effigy
of Aksobhya bespeaking as it does, the Buddhist origin of the goddess,
for it is well known that the Hindu gods or goddesses are not in the
habit of wearing a miniature figure of their sires on the crown. More-
over, Aksobhya is unknown in the Hindu pantheon except when he
is borrowed from the Buddhists, and the Hindus fail to explain the
desirability of putting his figure on the crown of Tara.
Figs. 135, 136 illustrate the Buddhist form of Tara or Mahacmatara,
and shows in what different forms she is represented in Nepal in
modern times. It may be pointed out that the corpse under the feet
of the Hindu Tara is not a corpse properly speaking, but it is the
prostrate form of Mahadeva to whom she is attached as a Sakti.
2. jANGULf ,
Jahguli is widely worshipped amongst the Buddhists as a goddess
who cures snake-bite and even prevents it. According to a Sahglti
in the Sadhanamala she is as old as Buddha himself, and the secret of
Jahguli and the mantra for her worship are said to have been imparted
to Ananda by Lord Buddha. Besides, the Sahglti, four Sadhanas des-
cribe the procedure of her worship and give elaborate mantras for the
extraction of poison from the body of the snake^bitten. These four
Sadhanas describe three entirely different forms of Jahguli, two with
one face and four arms and one with three faces and six arms. Images
of Jahguli are found in Tibet l and China -.
(i)
Colour — White Symbol — Snake, or Vina
Mudra — Abhaya
In two Sadhanas Jahguli is described as having one face and four
arms. In both cases she is alike in all respects except for the weapons
she carries in her hands. In one of the Dhyanas she is described as
follows :
"Atmanarh Arya*JahguIiruparh sarvasuklarh caturbhujarh ekamuk^
ham jatamukutinim suklam suklavasanottariyam sitaratnalahkara-
bhusitarh suklasarpairvibhusitarh sattvaparyahke upavistarh mulabhuja-
bhyarh vmarh vadayantlrh dvitiyavamabhujena sirasarpadharimrh apara*
daksinenabhayapradam candrarhsumalimrh dhyayat..."
Sadhanamala, p. 253*
1, Getty: GNB, p. 123
Z. Clark ; TLP, II, pp. 204, 217, 28 1
192 BUDDHIST ICONOGRAPHY
'The worshipper should meditate himself as Arya Janguli who is
all white in complexion, four-armed, one-faced, wears the Jatamukuta
and a white scarf. She is decked in white ornaments of gems and white
serpents and rests on an animal. She plays on the Vina with the two
principal hands, carries the white snake in the second left and exhibits
the Abhaya mudra with the second right, and is radiant like the moon."
In a second Sadhana she is said to exhibit the Varada mudra in the
second right hand. Fig. 137 illustrates a Nepalese drawing of the two-
armed form of Janguli.
(ii)
Colour — Green Mudra — Abhaya
Symbols — Trisula, Peacock's feathers and Snake.
The second variety resembles the first in many respects, but the
Sadhana ] does not mention the animal-seat or the particular Asana in
which Janguli should stand or sit. The symbols also are different
namely, the Trisula, peacock's feathers and the snake. The mudra,
however, is the same Abhaya mudra.
(iii)
Faces — Three Arms — Six
Vahana — Snake Colour — Yellow
The third variety of Jahguii has three faces and six arms. Two
Sadhanas in the Sadhanamala, one in prose, and the other in verse,
describe this form. The Dhyana contained in one of these runs as
follows :
"Arya-Jahgulirh atmanam jhatiti nispadayet pltam, trimukham
sadbhujarh nllasitadaksinetaravadanam kbadgavajrabanadaksinahasta-
trayam satarjanipasavisapuspakarmukavamakaratrayam sphltapha-
namandalasirahstham sarvadivyavastrabharanabhusitam kurrari-
laksanojjvalam Aksobhyakrantamastakam dhyatva..."
Sadhanamala, p. 248
"The worshipper should quickly conceive himself as Arya-JahgulI,
who is yellow in colour, three-faced, and six-armed; Her faces to the
right and left are blue and white. She carries the swordj the Vajra and
the arrow in the three right hands, and the Tarjani with the noose,
the blue lotus and the bow in the three left hands; She r£Stfe: on the
expanded hood of the serpant, is decked in celestial ornaments and
dress, is resplendent with the auspicious marks of a virgin, and bears
the image of Aksobhya on head. Thus meditating,.."
1. Sadhana No. 121, Sadhanamala p. 251.
EMANATIONS OF AKSOBHYA (CONTINUED) 193
The Hindu goddess Manasa or Visahari has a marked resemblance
to the appearance of Janguli and some of the Dhyanas in the Hindu
Tantric works for the goddess distinctly give her the epithet of
"Jahgull".
3. EKAJATA.
Colour — Blue Appearance — Terrible
Attitude— Pratyalldha
Ekajata is one of the most powerful goddesses in the Vajrayana
pantheon. It is said in the Sadhanamala that if a person listens
to her mantra but once, he is at once freed from all obstacles
and is attended always with good fortune, his enemies are destroyed
and he becomes religiously inclined, even attaining the level of a
Buddha. Four Sadhanas in the Sadhanamala dovoted to the worship
of Ekajata, describe three different forms of the goddess. She may
have one face with two, four or eight arms.
The main features of the goddess aie given in one of the
Sadhanas, the Colophon of which asserts that the Sadhana has
been restored from Tibet ( Bhota ) by Arya Na^arjuna, who was
famous in the mediaeval ages as one of the eighty-four Siddhapu*
rusas of India. The general description of the goddess given in
the Sadhana is as follows :
"Krsnavarna matah sarvah vyaghra-carmavrtah katau I
Ekavaktrah trinetrasca pihgordhvakesamurdhajSh II
Kharva lambodara raudrah pratyalidhapadasthitah I
Sarosakaralavaktra mundamalapralambitah II
Kunapastha mahabhima Maulav-Aksobhyabhusitah I
Navayauvanasampannah ghoiattahasabhasvarah II
Visvapadmopari suryye cintamyah prayatnatah" II
Sadhanamala p. 266.
"All these (three) forms (of Ekajata) are of blue colour, have
the tiger'skin round their loins, are one-faced and three*eyed, and have
brown hair rising upwards on their head. They are short, pot-
bellied, wrathful and stand in the Pratyalldha attitude, they have
faces distorted with anger ; with garlands of heads hanging from
their necks, they rest on corpses, are terrible in appearance and
bear the image of Aksobhya on the crown. They have youthful
bloom and laugh horribly and they should be conceived on the
orb of the sun over the double lotus."
25
194
BUDDHIST ICONOGRAPHY
This general description oaly applies to the following three
forms of Ekajata with one face and two, four or eight arms :
4 (i) When two-armed, she carries the Kartri and the Karota
(skull-cup) in her two hands (Fig. 138).
(ii) When four-armed, Ekajata carries the arrow and the sword
in the two right hands and the bow and the skull in the two
left. In two other Sadhanas describing the four-armed variety, her
appearance undergoes a slight modification. Here she holds in the
first pair of hands the Kapala and the Kartri, while the other
pair shows the Utpala and the sword. She may hold also the
rosary instead of the sword (Fig. 139).
(iii) When eight-armed, she carries the sword, the arrow, the
Vajra and the Kartri in the four right hands and the bow, the Utpala,
the Parasu and the skull in the four left hands.
Images of Ekajata are found in almost all Buddhist countries of
the North. She is known in Tibet l as well as in China L>.
"^ 4* VIDYUJJVALAKARALL
Faces — Twelve Arms — Twenty-four
Colour — Blue Asana— -Pratyalldha
Vahana — Indra, Brahma, Visnu and Siva
SYMBOLS :
Left
1. Bow 7. Wine-glass
2. Noose 8. Utpala
3. Tar jam 9. Bell
4. Banner 10. Parasu
Right
1. Khadga 7. Dart
2. Vajra
3. Cakra
4. Jewel
5. Ankusa
6. Arrow
8. Mudgara
9. Musala
10. Kartri
11. Damaru
•
12. Rosary
Another variety of Ekajata is
10.
5. Mace 11. Brahmasiras
6. Trisula 12. Kapala
known as Vidyujjvalakarali,
who is said to have originated from the sweat of Buddha. This
form of Ekajata, with twelve faces and twenty-four arms, is rarely
met with in sculptures either in stone or in bronze. The Dhyana
is rather long and it describes the goddess vividly thus :
"Dvadasamukham mahakrsnavarnam caturvimsatibhujam caturmar-
asamakrant§m svetakapalopari pratyalldhapadam mahapralayagnisa-
maprabham vivrtasyam hahakaram lalajjihvam sarosam vikrtakoti*
bhimabhrkutltatodbhrunetracaladvartulam bhayasyapi bhayahkarlm
1. Gordon: ITL, p. 76, Getty: GNB, pp. 125-126
2. Clark: TLP, II. p. 284
EMANATIONS OF AKSOBHYA (CONTINUED) 195
kapalamSla sirasi bhusitam vyadairalafikrtam sanmudropetam pratha-
mamukharh mahakrsnam tatha daksinamukhapancakam sitapitaharita-
raktadhumravarnanca, vamamukhapancakam raktasitapitaharitasitarak-
tanca, urdhvamukham dhumram vikrtam kruddham, sarvamukhani
damstrakaralavadanani, trinetrani, jvalitordhvapihgalakesani , sarosam
kharvalambodarirh pmonnatapayodharam vyaghracarmanivasanam dak-
sinadvadasabhujesu khadga-vajra-cakra-ratnacchat-ahkusa-sara-sakti'inu-
dgara-musala-kartri'damaru'aksamalikafica, vamadvadasabhujesu dha-
asirah-kapalanca.
Suprahrstam savarudham nagastakavi bhusitam I
Navayauvanasampannarh hahattahasa-bhasuram II
Pihgograikajatam dhyayat maulav-Aksobhya' bhusitam II
Iti Vidyujjvalakaralinamaikajatasadhanam "
Sadhanamala, p. 257
"The worshipper should conceive himself as (Vidyujjvalakarali)
who has twelve faces, deep blue colour and twenty-four arms,
she tramples upon the, four Maras (Brahma, Visnu, oiva and Indra),
stands on white skulls in the Pratyalldha attitude, is terrible like
the Fire of Destruction, has a wide open mouth from which
comes the sounds of 'ha' *ha'. She has protruding tongue, is wrath-
ful, has eyes round and moving, and her forehead is distorted
owing to the frequent contortions of the brows. She is more awe-
inspiring than Awe itself, and her head is decorated with a garland
of skulls ; she is decked in ornaments of snake, and is endowed
with the six auspicious symbols ; her first face is of deep blue
colour and the five faces to the right are white, yellow, green,
red and smoky in colour ; the five faces to the left are of red,
white, yellow, green and whitish red colour. The face on the top
is of the colour of smoke, distorted and displays anger. AH her
faces look terrible with bare fangs and three eyes ; her brown hair
rise upwards in the shape of a flame ; she is short and has a
protruding belly. Her breasts are full and heaving ; she is clad
in tiger-skin, and carries in her twelve right hands, 1. the sword,
2. the thunderbolt, 3. the discus, 4- 'the jewel, 5. the elephant*goad,
6. the arrow, 7. the dart, 8. the hammer, 9. the pestle, 10. the saw, 11. the
drum and 12. the rosary ; and in her twelve left hands she has 1. the
bow, 2. the noose, 3. the raised index finger, 4. the flag, 5. the mace, 6. the
trident, 7. the wine-glass, 8. the blue lotus, 9. the bell, 10..the axe, 11.
the severed hea*d of BrahrtiS, 12. and the skull. In an extremely happy
196 BUDDHIST ICONOGRAPHY
irtood she rides a corpse, is youthful, appears resplendent with
terrible laugh, wears a Jatamukuta, which is brown and fiery and
which bears the image of Aksobhya on it."
Here ends the Sadhaha for Vidyujjvalakarali, anocher form of
Ekajata."
( 5. PARNASABARI.
Colour —Yellow Fa ces — T hree
Arms — Six Vahana — Vighnas
Asana — Pratyalldha
The worship of Parnasabari, it is believed, is effective in pre-
venting out-breaks of epidemics and in assuring safety to the terror-
striken, The epithet Tisac? given in the mantra shows that she
was regarded as one of the demi-gods, half human, half divine. Two
Sadhanas in the Sadhanamala describe two forms of the goddess,
one with the image of Aksobhya on the crown and the other
^ith that of Amoghasiddhi. In one, her faces are lit with pleasant
Smiles, and in another she smiles but has an irritated expression
ill the same. Curiously enough, the two images that have been
discovered in Eastern Bengal, both have the effigies of Amoghasiddhi
on the crown. The Dhyana describing Parnasabari of yellow colour
with the image of Aksobhya on her crown, runs as follows :
"Bhagavatim pltavarnam trimukharh trinetram sadbhujarfa prathama-
mukham pitam, daksinam sitam vamam raktam, lalitahasinim sarva
lankaradharam parnapicchikavasanam, navayauvanoddhataih plnarh...
daksinabhujaih vajraparasusaradharimrh vamabhujaih satarjanikapasa-
parnapicchikadhanurdharimm puspavabaddhajatamukutastha-Akso-
bhyadharimm suryyaprabhamandalinlm adho vighnan nipatya sita*
padmacandrasane pratyalldhastham, hrdvamamustitarjanyadho vigh-
naganan santarjya daksinavajramustipraharabhinayam ..bhavayet.
Parnasabarl-Sadhanam" Sadhanamala, pp. 306-307.
**The worshipper should conceive himself as (Parnasabari) of
yellow complexion, with three faces, three eyes and six arms. Her
first face is blue, the right white and the left red, and she smiles in a
pleasing manner. She is decked in all sorts of ornaments, bears a gar-
ment of leaves, is arrogant in her youthful blopm, is stout in appear-
ance and carries in her right hands the Vajr?, the Parasu and the arrow,
and in her left the Tarjam with the noose, the cluster - of leaves and
the bow. Her Jatamukuta is decorated with flowers and the image of
Aksobhya ; she has the effulgence of the sun as her aureole, stands in
EMANATIONS OF AKSOBHYA (CONTINUED) 197
the Pratyalldha attitude on the moon over the white lotus, trampling
under her feet the Vighnas. She threatens the host of (otherj Vighnas
with the clenched fist of the left hand exhibiting the TarjanI against the
chest, and shakes her right fist at (the host of the Vighnas) .."
The mutilated image (Fig. 140) in the Indian Museum, with three
faces and six arms trampling upon Ganesa, probably represents this
form of Parnasabarl, as the word 'Vighna' in the Sadhanamala often
refers to Ganesa. The above-mentioned Sadhana, further states that
Parnasabarl may have an alternative form with four arms and the image
of Aksobhya on the crown, in which case she will carry the Vajra and
the Parasu in the two right hands, and the TarjanI with the noose, and
the cluster of leaves in the two left, omitting the bow and the arrow.
Images of Parnasabari are also found in Tibet ! and in China ~.
6. PRAJNAPARAMITA
Prajnaparamita is the embodiment of the Mahayana Scripture of
the same name which was, according to the Buddhist tradition, restored
from the nether regions by Nagarjuna in the second century A. D.
Buddha is said to have entrusted this Book of Transcedental Knowledge
to the care of the Nagas in the nether regions, as in his time people
were not sufficiently intelligent to grasp the true meaning of the doc-
trines it contained. The worship of Prajnaparamita was very popular
among the Buddhists, and Arya Asahga is credited to have composed
one of the Sadhanas for her worship which is said to confer wisdom
and erudition on her devotees Nine Sadhanas in the Sadhanamala
describe the procedure of her worship, and of these only two are assign-
ed to the kula of the Dhyani Buddha Aksobhya. She too, like Manjusri,
could not be assigned to any one of the Dhyani Buddhas because the
Prajnaparamita scripture was chronologically earlier than the Dhyani
Buddhas. The two Sadhanas describe the white and the yellow forms
of" the goddess. Images 8 of Prajnaparamita are found in Tibet 4 and
China s.
(i) SITAPRAJNAPARAMITA
Colour — White Asana — Vajraparyahka
Symbols — Lotus and Book
Only one Sadhana in the Sadhanamala describes the form of white
Prajnaparamita with the image of Aksobhya on the crown. She is two*
f 1. Gordon : ITL, p. 71 ; Getty : GNB, pp. 134-135.
* 2. Clark : TLP, II, p. 278
" 3. See Bhattasali : IBBS, p. 42.
4. Getty: GNB, pp. 131-132.
5, Clark : TLP, It, pp. 140, 160.
198 BUDDHIST ICONOGRAPHY
armed, one-faced, sits in the Vajraparyanka attitude on a white lotus,
and carries the red lotus in the right hand and the Prajnaparamita
Book in the left. She is decked in all sorts of ornaments, has a
beautiful face and pleasant expression, unlike other emanations of
Aksobhya. The Dhyana runs as follows :
"Dvibhujam ekavadanam sitavarnam manoramam I
Ardhacarcarakesanca svetambhoruhasarhsthitam II
Padmam daksinahaste tu raktavarnam vibhavayet I
Prajnaparamitam vame vajraparyahkasamsthitam II
Sarvalahkarasampurnam bhavayennabhimandale I
Ankarajnanasambhutam paramanandakarinim II
. Aksobhyamudrita ceyarh
Sukla*Prajnaparamita-Sadhanam'\
Sadhanamala, pp. 310-311.
The worshipper should meditate on the navel the form of Sitapra-
jnaparamita, as two-armed, one-faced, white in colour, and beautiful
in appearance, with half curly hair, as sitting on the white lotus, carry-
ing in her right hand the red lotus, and the Prajnaparamita Book in her
left. She sits in the Vajraparyahka attitude, and is decked in all sorts of
ornaments. She originates from the knowledge of the letter *Am' and
releases immense delight... This goddess is stamped with the image of
Aksobhya (on the crown)."
(ii) PlTAPRAJNAPARAMITA
Colour — Yellow Mudra — Vyakhyana
Distinctive Mark — Book on lotus to the left.
The yellow variety of Prajnaparamita with the effigy of Aksobhya
is identical in form with the one described above, except with regard
to the colour and the rnudra. She is yellow in complexion, bears the
image of Aksobhya on her Jatamukuta, wears celestial ornaments, and
her two hands display the Vyakhyana attitude* On a lotus to her left
rests the scripture Prajnaparamita 1 .
The celebrated image of Prajnaparamita (Fig. 141) of Java belongs
to this variety, and tallies in all details with the description given in the
Dhyana.
1. SidhanaNo. 158, Sadhanamala, p. 321
EMANATIONS OF AKSOBHYA (CONTINUED) 199
(iii) KANAKAPRAJNAPARAMiTA
Colour— Golden Mudra — Dharmacakra
Asana — Vajraparyanka
Symbol — Book on lotus on two sides.
This form of Prajnaparamita is identical in all respects with one
of the forms described previously. The difference lies in the fact that
although she exhibits the Dharmacakra mudra with her two hands,
there are two books on two lotuses rising from under her two arm-pits.
She is golden in colour l. The Java figure of Prajnaparamita illustra-
ted previously has only one lotus bearing the book in her left, but the
Indian Museum image (Fig. 142) with two lotuses on either side, each
bearing a manuscript, may definitely be identified with this variety of
Prajnaparamita.
7. VAJRACARCIKA
Asana — Dancing in Ardhaparyahka Arms — Six
Colour — Red Distinctive feature — Emaciated body
Vahana — Corpse Appearance — Terrible
Only one Sadhana in the Sadhanamala describes the form of
Vajracarcika and the Dhyana contained therein runs as follows :
"Vajracarcikam trinetrarh ekamukhim ardhaparyahkatandavam
mrtakasanastharh, krsangim damstrotkatabhairavarh narasiroma-
lavibhusitakanthadesam asthyabharanavibhusitam pancamudradharimm
Aksobhyamukutinirh vyaghracarmanivasanam muktakesim sadbhujam
daksine vajrakhadgacakradharinlm vame kapalamanikamaladharam
raktavarham karmanurupatah sukladivarnayuktanca dhyatva"
Sadhaiiamala, p. 395.
4The worshipper should conceive himself as Vajracarcika, who is
three^eyed and one^faced, dances in the Ardhaparyahka attitude on a
corpse, is emaciated in appearance and looks terrible with bare fangs.
Her neck is embellished by a garland of human heads, and she is
decked in ornaments of bones, is endowed with the five auspicious
symbols, bears the image of Aksobhya on the crown, is clad in
garments of tiger<skin and has dishevelled hair. She is six-armed and
carries in her three right hands the Vajra, the sword, and the Cakra
and in her three left the Kapala, the jewel and the lotus. She is red in
colour but changes to white and other colours in accordance with
the different purposes for which she is invoked. Thus meditating..."
r Sadhana No, 154, Sadhaaamala, pp. 313-314
200 BUDDHIST ICONOGRAPHY
The accompanying sketch, (Fig. 143) gives a vivid idea of her terrible
form, with the skeleton of her fleshless body showing through the
skin in all its nakedness, and her vulture-like claws enhancing the
fierceness of her appearance.
A statuette of this goddess is found in China } .
8. M AHAM ANTRANUSARINL
Colour — Blue Arms — Four
Mudra — Varada
The remarks made in the case of Mahasltavati, an emanation of
Amitabha and one of the Pancaraksa goddesses, apply to the case of
Mahamantranusarim also. This goddess is another of the Pancaraksa
goddesses, and as her colour is blue, she affiliates herself to the
family of the Dhyani Buddha Aksobhya Only one short Sadhana des-
cribes her form, and theDhyana contained therein is as follows :
"Mahamantranusarim caturbhujaikamukhi krsna daksinabhujadvaye
vajravaradavati vamabhujadvaye parasupasavau Humkarabija Aksobhya-
kintim suryyasanaprabha ceti"
Sadhanamala, p. 401.
1 'Mahamantranusarim is four-armed and one- faced, is blue in
complexion, shows in her two right hands, the Vajra and the Varada
mudra and in her two left the Parasu and the noose. She originates
from the syllable "Hurh'\ bears the image of Aksobhya on the crown,
sits on and glows like the sun."
Images of this deity are known in Tibet *J and China *'.
9. MAHAPRATYANGIRA
Colour — Blue Arms — Six
One short Sadhana only is assigned in the Sadhanamala to Maha-
pratyafigira. The Dhyana describing her form is as follows :
*'Mahapratyahgira krsna sadbhujaikamukha khadgankusavarada-
daksinahasta raktapadmatrisula-hrdayasthasapasatarjamyuktavamahasta
Humblja Aksobhyamukuta sarvalahkaravati rupayauvanasampanna".
SSdhanamala, p. 402.
1. Clark : TLP, II, p. 269.
2. Gordon : ITl, p. 76
3. As Mantramidharanl she occurs in Clark : TLP, II, pp. 205*275.
EMANATIONS OF AKSOBHYA (CONTINUED) 201
"Mahapratyahgira is blue in colour, six-armed, and one-faced. She
shows in her three right hands the sword, the goad, and the Varada
mudra, and in her three left hands she holds the Tarjam with the noose
against the chest, the red lotus and the trident ; she originates from
the syllable "Hum", bears the image of Aksobhya on her crown, is
decked in all sorts of ornaments, and is young and beautiful.
Figs. 144 and 145 illustrate two Nepalese drawings of the goddess
Mahapratyangira. They conform to the description given in the
Sadhana. The ivory image from Nepal (Fig 146) with innumerable heads
is also worshipped as Mahapratyangira. This goddess is found also in
China !.
10. DHVAJAGRAKEYURA
Two Sadhanas in the Sadhanamala describe two widely different
forms of Dhvajagrakeyura. In one the effigy of Aksobhya on the crown
is expressly mentioned, but in the other, the Dhyani Buddha is absent.
The weapons are also different, and in one case she is three-faced and
in the other four-faced. In all other respects, however, the forms are
identical.
Images of Dhvajagrakeyura are found in China -.
(i) Three-Faced.
Colour— Blue Faces —Three
Arms — Four Appearance — Terrible
Asana — Pratyalidha
The Dhyana describing Dhvajagrakeyura, with three faces and four
arms and with the effigy of Aksobhya, runs as follows :
"Dhvajagrakeyura krsna trimukhl caturbhuja raktasyamadaksina^
vamamukhi khadgapasadharidaksinakaradva^ a vajrankitakhatvahgaca*
kravamahastadvaya urdhvapifigalakesi suskapancamundalahkrtasiraska
vyaghrajinavasana damstrakaralamukhl pralambodari pratyalidhapada
suryasanaprabha pltavastrakancukim Humbija Aksobhyamukuta."
Sadhanamala, p. 403
"Dhvajagrakeyura is blue in colour, three-faced, and four-armed,
with the right and left faces of red and green colour (respec-
tively). She carries the sword and the noose in the two right hands,
and the Khatvahga stamped with a Vajra and the Cakra in the two left,
l7 Clark : TLP II, pp. 200, 289.
2. Clark : TLP II, pp. 200, 289.
26
202 , , . BUDDHIST ICONOGRAPHY
has brown hair rising upwards on her head which is embellished by a
row of five shrivelled heads. She wears garments of tiger-skin, and has
faces distorted with bare fangs. She has a protruding belly, stands in
the Pratyalidha attitude, has her seat on and glows like the sun, wears
yellow garments and jacket, originates from the syllable 'HunY and
bears the image of Aksobhya on the crown".
(ii) Four — Faced
Faces— Four Arms— Four
Colour — Yellow
As already pointed out, Dhvajagrakeyura has another form, with
four faces and four arms carrying the sword and the Cakra in the two
right hands, and the Tarjanipasa and the Musala, marked with a Vajra,
in the two left. A Trisula hangs from her left shoulder. Her first face
is yellow, left red, right white, and the face above is distorted and is
of the colour of smoke. In all other respects her form is identical with
the one described above.
Fig. 147 illustrates a Nepalese drawing of the goddess.
11. VASUDHARA
Mudra — Varada Symbol — Ears of Corn
Colour — Yellow
Vasudhara figures in the pantheon of the Mahayana Buddhists as
the consort of Jambhala, the Buddhist god of wealth. Only three Sadha-
nas are devoted to her worship and in one of these only is she said to
bear the image of Aksobhya. The two others assign her to the Dhyani
Buddha Ratnasambhava. It may be noticed, by the way, that Vasu-
dhara is of a greater antiquity than the Dhyani Buddhas themselves.
The Dhyana describing the goddess with the figure of Aksobhya on the
crown runs as follows :
"Vasudharam Bhagavatim dhyayat, kanakavarnam sakalalankarava*
tim dvirastavarsakrtim daksinakarena varadam, vamakarena dhanyama-
njaridharam Aksobhyadharinim. Purato Bhagavatim Srivasundharam
daksinato Vasusriyam pascimatah Srivasumukhim, vamato Vasumati-
sriyam ; etascadyaksarabijah svanayikasamanarupascintaniyah.''
Sadhanamala, p. 421
"The worshipper should conceive himself as the goddess Vasudhara
of golden complexion and decked in all sorts of ornaments. She ap-
pears a young girl of twice eight years, exhibits the Varada mudra in
1. Sadhana No. 210 in the Sadhanamala, pp. 415, 416.
EMANATIONS OF AKSOBHYA (CONTINUED) 203
the right hand, carries the ears of corn in the left, and bears the_ imag<
jof Aks^tmjon the crown) ." In front ofThe goH3ess should be con
ceived SrlvasunBhara, in the right Vasusri, in the west Srivasumukhi, anc
in the left Vasumatisn. These four goddesses originate from the firs
syllables of their names, and are identical in form with the principa
goddess' '.
Images of Vasudhara are found in the Buddhist countries of th<
North including Tibet l.
12. NAIRATMA.
Asana — Dancing in Ardhaparyahka
Colour — Blue Appearance — Terrible
Vahana — Corpse lying on its back. Symbols — Kartri and Kapala.
Two Sadhanas in the Sadhanamala describe her form, which is in
many respects, similar to the form of Vajravarahl with the Kartri and
the Kapala, the principal point of difference being the position of the
corpse which forms their Vahana, When it lies on its chest it is Vajra-
varahl, but if it lies on its back the goddess is Nairatma. There are
other distinguishing features also For instance, Vajravarahl being an
emanation of Vairocana, should bear the image of Vairocana on the
crown ; while Nairatma, being an emanation of Aksobhya, should bear
the image ot Aksobhya instead. Moreover, the excrescence near the
the right eai of Vajravarahl must be absent in the case of Nairatma.
In all other respects there is a remarkable resemblance between the two.
The Dhyana in one of the two Sadhanas describe the form of Nairatma
in the following terms : p
"Savahrccandrasthardhaparyahkanatyasthitam Nairatmam krsnam
ekamukham urdhvapiiigalakesam Aksobhyamukutmim damstrakaralay
lalajjihvam, daksinena kartridharimm, vame kapalakhatvahgadharimm,
raktavartulatrinetram pancamudravibhusanarii (dhyayat)."'
Sadhanamala, p. 451
4 The worshipper should conceive himself as Nairatma who stands
in the Ardhaparyahka in a dancing attitude on the moon over the chest
of a corpse. She is blue in colour, has brown hair rising upwards, and
bears the image of Aksobhya on her crown. Her face looks terrible
with bare fangs and protruding tongue, and she carries the Kartri in the
right hand and bears the Kapala and the Khatvahga in the left. Her
tbi&e eyes are red and round, and she is endowed with the five auspi*
cious symbols."
1. Gordon : ITt, p. 72 ; Getty : GNB, p. 174.
204 BUDDHIST ICONOGRAPHY
The word 'Nairatma' means 'no-soul* and is another name for Sunya,
in which the Bodhisattva merges on the attainment of Nirvana. Gra-
dually, the conception of Sunya took the form of a goddess in whose
embrace the Bodhisattva is said to remain in eternal bliss and happi-
ness, Nairatma gets the blue colour, because the colour of Sunya
according to the Buddhist tradition, is like the colour of the sky, which
is blue.
The Indian Museum image No. 3941 (Fig. 148) is the only image of
this goddess which conforms to the description given in the Sadhana
just quoted. Here the goddess, in accordance with the Dhyana, has
a terrible appearance with canine teeth, garland of heads and three eyes
rolling in anger. She stands on the corpse lying on its back, and
dances in the Ardhaparyahka attitude* Burning flames radiate from
her person, and her hair rise upwards in the shape of a flame. She is
decked in the five auspicious symbols, the Kanthika (torque), Rucaka
(bracelets), Ratna (jewels), Mekhala (girdle), and Bhasma (ashes) or the
Sutra (sacred thread) in the form of a garland of heads. She bears the
image of her sire Aksobhya on her crown and carries the menacing
Kartri in the right hand. The left hand holding the Kapala is broken.
The Khatvafiga, as usual, hangs from her left shoulder.
The Vangiya Sahitya Parishat bronze (Fig. 149) shows the above
characteristics, but the Khatvafiga is lost. It is lost in the same way as
small weapons in Nepalese and Tibetan bronzes are often found
missing. Nairatma is popular in China 1 .
13. JNANADAKINL
Colour — Blue Faces — Three
Arms — Six Kulesa — Aksobhya
Jnanadakini is the principal deity of the Jnanadakim Mandala of the
Nispannayogavali. She is described thus :
"Jnanadakim nilasya...savyam suklarh...vamam raktasrhgaraih...
daksinabhujatraye urdhvikrtakhatvangam parasurh vajranca vamatraye
ghantaraktapurnakapalakhadgah." NSP, p. 12
"Jnanadakini has a blue face.. .the right is white... the left is red and
amorous... In the three right hands she carries the raised Khatvanga,
the axe and the Vajra. In the three left there are the bell, the cup full of
blood and the sword/'
Jnanadakini is represented in the Chinese collection 2,
1. Clark: TLPf II. pp. 61, 238
2. Clark : TLP, II, p. 237
EMANATIONS OF AKSOBHYA (CONTINUED) 205
14. VAJRAVIDARANi
VajravidaranI is described in the Dharmakosasangraha of Amiv
tananda as follows :
"Vajravidarani pancamukhi dasabhuja ; dakse ankusa-khadga-sara-
vajra-varada ; vame pasa-carma-dhanU'dhvaja'abhaya pratyalidhasana".
Dharmakosasahgraha Fol. 44A.
"Vajravidarani is five^faced, ten-armed, carries in the right hands
the goad, the sword, the arrow, the Vajra, and the Varada mudra, and
in the left the noose, the shield, the bow, the flag and the Abhaya pose.
She stands in the Pratyalldha attitude".
Fig. 150 illustrates a miniature painting of the goddess in the collec-
tion of Dr. Evans-Wentz.
CHAPTER VIII
EMANATIONS OF VAIROCANA
According to the Sadhanamala all the deities that emanate from the
the Dhyani Buddha Vairocana have generally the white colour or the
colour assigned to Vairocana. Several goddesses have the images *of
Vairocana on their crowns, thus showing that they are all emanations
of this particular Dhyani Buddha. Some of the deities are expressly
stated in the Sadhanas to be "Vairocanakulodbhava" or "born of the
family of Vairocana" The deities emanating from this Dhyani Buddha
are said to reside in the interior of the Caitya, since Vairocana, it may
be remembered, is the lord of the sanctum of the temple or the Stupa.
Among the deities emanating fiom Vairocana Marici seems to the first
in importance and popularity. She is even regarded as the consort
of Vairocana. Vairocana is distinguished from the other Dhyani
Buddhas by his white complexion and the Dharmacakra mudra he dis
plays in his two hands.
1. NAMASANGITI
Colour — White Face — One
Arms — Twelve Asana — Vajraparyanka
Pandit Amrtananda's Dharmakosasahgraha gives the description of
a most interesting god, named as Namasahgiti. This description
enables the students of iconography to identify a large number of his
images that he scattered throughout the Nepal valley and other Buddhist
countries. This deity should be distinguished from the Namasangiti
Manjusri who has already been described as one of the varieties of the
Bodhisattva Manjusri. Like the goddess Prajnaparamita who is the
embodiment of the Prajnaparamita literature, Namasangiti also seems
to be the deification of the Namasangiti literature of the Buddhists.
Pandit Amrtananda characterises Namasangiti as a Buddha but from
the description and the illustration it would appear that he is a
Bodhisattva, The elaborate ornaments, the fierce symbol of Khatvanga
as also other Bodhisattva symbols do not befit a Buddha. Although
the parental Dhyani Buddha of Namasangiti is not expressly mentioned
in the description of Amrtananda, he is brought here under Vairocana
because of his white colour*
EMANATIONS OF VAIROCANA 207
Images of Namasahglti are to be found in large numbers in Nepal
either in stone or in bronze and he is popular also in Tibet and China.
Getty 1 erroneously labels this deity as a "Dogmatic Form of Avaloki*
tesvara" and the names given to the various mudras exhibited by
the deity are also inaccurate. The Dhyana as given in the Dharma*
kosasangraha is quoted as follows :
"Namasangmnama (Bodhisattvah).
Ekavaktrah svetavarnah dhyananayanah smerananah Jatamukutadha-
rah nanalahkaralankrtah sanmudralahkrtah dvadasabhujah prathama-
bhyam savyadaksabhyarh hrdayapradese abhayamudradvayam,
dvayabhyam mukutopari krtanjalimudram, daksatmyena visvavajropari
khadgam savyavamacaturthabhyam tarpanamudradvayam, savyavam-
apancamabhyam patrasthamrtaksepanamudrarh sasthasavyavamabhyam
sapatradhyanamudrarh vamatrtiyena savajrakhatvangam dadhanah,
kamalopari vajrasanah."
Dharmakosasahgraha (A. S, B. MS.) FoL 91
uThe (Bodhisattva) Namsangiti.
"He is one-faced, white in colour, has eyes (half-closed) in meditation,
a smiling countenance, the Jatamukuta and various ornaments,
is decked in the six auspicious ornaments, and twelve^armed. He
exhibits in the first pair of right and left hands the two Abhaya
mudras against the chest ; and in the second pair the Arijali (clasped
hand) mudra over the crown. The third right hand carries the sword
on the double Vajra. The fourth pair exhibits the Tarpana mudras,
the fifth pair shows the mudra of sprinkling nectar from the vessel
(Ksepana), and the sixth pair exhibits the SamaJhi mudra on which
is the vessel (of nectar); the third left hand carries the Khatvahga with
the Vajra ; and he sits in the meditative pose on the lotus".
The image reproduced by Getty has lost the sword on the double
Vajra and the Khatvahga with the Vajra carried in the third pair of
hands by the deity.
Fig. 151 illustrates a Nepalese statuette of the deity.
2. MARICf
MaricI is invoked by the Lamas of Tibet about the time of sun-rise,
which shows her connection with the sun. She too, like the Hindu
Sun^god, has a chariot. Her chariot is drawn by seven pigs, while
that of the sun is drawn by seven horses. Again, the charioteer of
the sun is Aruna, who has no legs, but that of MaricI is either a
goddess with no legs, or Rahu — only the head without a body.
1; Getty : GNB, pp. 66, 67.
208 BUDDHIST ICONOGRAPHY
There is a theory that Marici and Vajravarahi are the same, but it
cannot be supported ; for, whereas Vajravarahi is actively associated in
yab-yum with her consort Heruka, or Samvara an emanation of Akso-
bhya, Marici invariably appears singly, and her consort is Vairocana
himself, and not any"emanation of a Dhyani Buddha. Again, Heruka
rides a corpse lying on its chest, and accordingly, such a Vahana has
been given to Vajravarahi, but Marici is never known to tread upon a
corpse, or even the prostrate body of a man. The images of Vajra-
varahi always represent her as one-faced with an excrescence near the
right ear, but Marici, even when represented as one* faced is not known
to have any excrescence on her face. Vajravarahi according to
the Dhyana, may have four arms, but Marici must have either
two, eight, ten or twelve arms according to the Sadhana. Marici
is always said to reside in the womb of a Caitya, whereas Vajravarahi,
being an abbess, may reside anywhere. The mantra for Vajravarahi is
"Om Sarva-Buddhadakimye Vajravarnanlye hum hum phat phat svaha"
or "Om Vajravetall hum phat". Santideva gives the Dharani for
Marici but the Dharani never refers to her as Vajravarahi. The con-
ception of Marici has a greater antiquity than the conception of either
Vajravarahi or Heruka. The union of Heruka and Vajravarahi is the
subject-matter of the Vajravarahi Tantra, but no Tantra is assigned to
Marici. Vajravarahi stands in the Ardhaparyahka in a dancing attitude
on a corpse, but Marici stands almost always in the Alldha attitude
and moves in a chariot, but she is never in the dancing attitude. Last
but not the least, Vajravarahi has been called a Dakini, that is, an abbess
who had attained perfection, ( siddhi ) and had become a deified
woman, but Marici is a goddess, first and last.
In view of these wide differences in form, character and accoutre-
ments, the identity of the two goddesses Marici and Vajravarahi, can
not be established. The only points of agreement between them are
that both of them are emanations of Vairocana, and both sometimes
have two arms and two legs.
Sixteen Sadhanas in the Sadhanamala describe six distinct forms of
Marici. She may have one, three, five or six faces and two, eight, ten
or twelve arms. She is generally accompanied by her four attendants,
Varttall, Vadall, Varall and Varahamukhl. She is recognized generally
by the sow face and the seven pigs that run her chariot. The needle
and the string are her characteristic symbols, to sew up the mouths and
eyes of the wicked. Images of Marici are rather common in India.
In her two-armed form of Asokakanta she accompanies Khadiravani
Tara; amongst other varieties of Marici, the form with three faces and
EMANATIONS OF VAIROCANA 209
eight arms, is extensively met with in sculptures J. Images of Marici
are found in Tibet L> and China •*.
Goddess Marici is the principal deity in the Marici Mandala of the
Nispannayogavali. The form described here is three-faced and six-
armed. Sasvata or Vairocana is said to be the spiritual sire of
Marici 4.
(I) ASOKAKANTA
Vahana— Pig Colour — Yellow
Asana — Standing Mudra— Varada
Distinctive feature — Left hand touching the Asoka bough
Ordinarily, Marici has two arms and one face. She is called A&oka*
kanta when she holds the bough of an Asoka tree in the left hand and
exhibits the Varada mudra in the right hand ; but she is called
Arya-Marlci if she carries the needle and the string in her two hands.
The Dhyana describing the form of Asokakanta is stated below :
"Hemabhasukaraiudham taptakancanabhasvaram I
Lilayordhvasthitarh candrabimbambhoruhasamsthitam II
Asokavrksasakhagravilagnam vamapanina I
Bibhratim varadakaradaksinakarapallavam II
Diptaratnopasobhena maulina Buddhasekharaih I
Svetavastram namasyami Maricim abhayapradam" II
Sadhanamala, p. 306
"I bow to Marici who rides the sow of golden colour, whose com*
plexion is like the colour of molten gold. She stands in a sportive
attitude on the mocn over the lotus, and holds with her left hand the
bough of an Asoka tree, and displays the Varada pose in the right.
She bears the image of the Dhyani Buddha (Vairocana) on the crown,
is decorated with bright jewels, wears white garments and grants assu-
rance of safety (to the world)".
An image of Asokakanta is referred to by Alice Getty 5.
1. Bhattasali : IBBS. p. 43f and PI. XIII-XIV
Z. Getty : GNB, p. 133
3. Clark : TLP, II, pp. 207, 286, 189, 20 1
4 NSP:pp. 40, 41
5. Getty : GNB, p. 133.
27
210^ BUDDHIST ICONOGRAPHY
(II) ARYA*MARlCf.
Symbols — Needle and String.
Arya-Markl is identical with Asokakanta except for the symbols she
bears in her hands. As already stated, Asokakanta has the Asoka
bough and the Varada pose, but Arya-MaricI carries the needle and
the string l .
(III) MARlcfPICUVA.
Faces — Three Arms — Eight
Marlcipicuva is also called AstabhujapIta^Marici or Samksipta-MaricI.
These two names denote two distinct varieties of Marici, although both
are endowed with three faces and eight arms and carry similar weapons
in their hands. One Sadhana only is devoted to Marlcipicuva, and it
does not mention whether she should be accompanied by the four
goddesses as usual. She holds the needle and the string in the first pair'
of hands, the Ahkusa and the noose in another pair, the bow and the
arrow in the third pair, and the Vajra and the Asoka flower in the
fourth pair. She has three faces, each displaying a mixture of three
different sentiments (Rasa), The Dhyana in verse runs as follows :
uSrhgaravirasaddharsair-jambunadasamaprabham I
Madhyendranllavarnasyam bhayablbhatsaraudrakaih II
Karunadbhutasantaisca sphatikendvitarananarh I
Trivimoksamukhaistryaksam dharmasambhoganirmitam II
Pltabharanasadvastram mayukhasukhavasinim I
Sucyaksasyani sivantlm badhnantim mukhacaksusi II
Hrdgalenkusapasabhyam bindhantim banakarmukaih I
Vajrena dusthrdbhitvasokenasecanapararh II ...
Prajnopayapadakrantam Mandril bhavayedvratl II
Maricipicuva'Sadhanarh". Sadhanamala pp. 297-298.
*'The worshipper should conceive himself as Marlcipicuva who dis-
plays the sentiments of Srngara, Vira, and Harsa in one of her faces,
which is of the colour of Jambunada (gold). In the middle face which
is of the colour of the Indranlla gem, the sentiments of Bhaya, Bibhatsa,
and Raudra are displayed ; and in the third face of crystal colour, the
sentiments of Karuna, Adbhuta and oanta appear. She has three eyes
in each one of her three faces, which give freedom from the three great
evils. Her essence is made of Dharmakaya and Sambhogakaya. She
1. Sadhana No. 147 in the Sadhanamala, p. 305.
EMANATIONS OF VAIROCANA III
is clad in garments of yellow colour and resides happily in the mass of
rays. She sews up the eyes and the irouths of the wicked with the
needle and secures them with the string. She strikes their hearts with
the Ankusa, draws them by the neck with the noose, pierces them with
the bow and the arrow, and shatters their hearts to pieces with the
Vajra, and then sprinkles water with the leaves of Asoka... She tramples
under her feet Prajna and Upaya."
Astabhuja-Marici or Sarhksipta-Marici is yellow in colour, wears
red garments, is decked in various ornaments, bears the image of
Vairocana on the crown and resides within the cavity of a Caitya. Her
three faces display three different sentiments. The first, or the principal
face displays passionate love, and is of the colour of gold. The
second, or the left face is distorted, sow-like, has the colour of the Indra-
nlla gem, displays wrath and looks terrible with bare fangs and protru-
ding lips. The third or the right face is of deep red colour, glows
in heavenly splendour and displays the sentiment cf Santa. She rides
a chariot drawn by seven pigs, stands in the Alidha attitude, and
appears a virgin in the fulness of youth. Below the seven sows
is the fierce Rahu, who devours the sun and the moon. She is sur-
rounded by the four attendant goddesses, Varttali, Vadali, Varali and
Varahamukhi.
(i) Varttali has red complexion, the sow-face and four arms.
She wears red garments, is decked in all sorts of ornaments,
and carries the noose and the Asoka in the two left hands and
the Vajrahkusa and the needle in the right.
(ii) Vadali has many features in common with Varttali, but her
colour is yellow and she carries the noose and the Vajra in
the two left hands and Asoka and the needle in the right,
(iii) Varali is identical with Vadali, except that she holds the
Vajra and the needle in the two right hands and the noose
and the Asoka in the left.
(iv) Varahamukhi wears the same garments and the same orna-
ments as Vadali and Varali, but her complexion is ruddy, and
- she carries the Vajra and the arrow in the two right hands and
the Asoka and the bow in the left, • -
It is very curious that almost all the images of Marlcl known so .far,
belong "to this Variety. Iti actual images, a legless lady charioteer
may sometimes :>be fnet with instead of Rahu, while spine * images
retain the charioted * as' well ' as Rahu. Two images of the
eight-armed variety of Ttffcndu are in the Dacca Museum,- two
212 BUDDHIST ICONOGRAPHY
are in the Indian Museum ( Figs. 152, 153 ) Calcutta, and the one
(Fig. 154) which is reproduced in many works of art, was discovered at
Sarnath and is now deposited in the Lucknow Museum, while a sixth
has been discovered in Orissa. Besides these, several other images of
MaricI are available in the museums at Rajshahi and Sarnath. All
these images are three- faced and eight-armed, and some of them are
very fine specimens of art. In the more artistic and accurate images the
three sentiments have actually been depicted by the sculptors. A study
of these images will show that though the sculptors generally follow
the Sadhana in all details, yet they are not always so scrupulous in
the case of the four attendant goddesses who are sometimes two-
armed, and sometimes, though four-armed, do not carry the symbols
prescribed by the Sadhanamala.
(IV) UBHAYAVARAHANANA
Faces — Three Arms — Twelve
Asana— Alidha Distinctive mark — Two Sow*faces
She has been given this name because, unlike all other three-faced
forms of MaricI, both her right and left faces are like that of a
sow. She is clad in tiger-skin, has red complexion, a jewelled
headdress, a red scarf and is decked in all sorts of ornaments. She
resides within the womb of a Caitya, stands in the Alidha attitude, and
is endowed with three faces, each with three eyes, and twelve arms.
The principal face smiles with delight, is peaceful in expression and
display the emotion ot love, while the two side ones are distorted sow-
like. The face to the left is red, and is paid homage to by a deity carry-
ing the Vajra and the Mudgara ; the face to the right has a reddish efful-
gence like that of Saindhava salt, and is paid homage to by Purandara
(Indra) who carries the Vajra and the noose. In her six left hands she
shows the Tarjam against the chest, the Asoka bough, the Vajrah-
kusa, the Kapala, the head of Brahma and the vessel, and in the six
right hands the needle, the Afikusa, the Bhindipala ( spear ), the sword,
the Kartri and the Staff stamped with a Vajra. She bears the
image of Vairocana on her crown, and tramples under her feet the
Hindu gods, such as Hari (Visnu), Hara (Siva), Hiranyagarbha (Brahma)
and others* The guardians of the quarters all pay homage to this
goddess.
It may be pointed out here that the Sadhana is reticent about the
chariot, the seven sows that run it, and about the four attendant
goddesses, Varttali, Vadali, Varali and Varahamukhl l.
1. Sftdhana No. 145 in the Sadhanamala, pp. 299-30Z.
EMANATIONS OF VAlROCANA 213
(V) DASABHUJASITA-MARICf.
Faces — Five Colour— White
Arms — Ten Legs - Four
Two Sadhanas in the Sadhanamala describe her form which is ten-
armed, and white in colour. The most important feature of this variety
is that she is endowed with four legs. She has five faces. The pnn*
cipal face is white, the right is blue, the left is red and distorted
sow-like, the face behind is green, and the face above is yellow
and bears the Trisikha (three tufts of hair) and the Jatamukuta. The
five right hands hold the sun, the blue Vajra, the arrow, the goad and
the needle while the five left hands carry the moon, the bow, the Asoka
bough, the noose with the Tarjam and the string. She rides a chariot
drawn by seven pigs, and tramples under her feet the four Hindu gods
Indra, Siva, Visnu and Brahma. She bears the effigy of Vairocana on
her crown,
The Sadhanas further add that she should be accompanied by three
other goddesses of whom the first is blue in colour, and rides upon a
Makara. Her face is mis-shapen like that of a sow, and she carries the
Vajra in one hand and the Tarjam in the other.
The second goddess appears to the right of Marici , wears celestial
ornaments, is ruddy in colour with one face mis-shapen like that of
a sow.
The third goddess appears to the left of Marici. She is of red
colour, with one face mis-shapen like that of a sow, and four arms.
The two principal hands are engaged in drawing to the full the bow
charged with an arrow, while the remaining two hold the Vajra in the
right and the Asoka bough in the left.
Below che seven pigs drawing the chariot are the Navagrahas or the
Nine Planets, and various diseases and disasters in human shape lie flat
on the ground l .
The Sadhanas do not give the names of the attendant deities, which
are only three in number. It is possible that these three are the mem-
bers of the Varttali group. Fig. 155 illustrates aNepalese drawing of
this variety of Marici.
1. Sidhana No. 139 in the Sidhanamala, pp. 285-286.
2 1 4 BUDDHIST ICONOGRAPHY
(VI) VAJRADHATSTi^VARlMARICL
Faces — Six Asana— Alldha
Arms— Twelve Appearance — Terrible
When six*faced and twelve-armed, MaricI is invoked in three
different forms and under three different names:VajradhatvIsvari Marici.
Uddiyana MaricI, and Vajravetali. These three forms are classed to^
gether here because of their marked resefnblance. They differ however
in minor details and in respect of the weapons they carry in their
hands.
The features that are common to all the three may be summarised
from the Sadhanas as follows. They are all endowed with six faces and
twelve arms. The first five faces are respectively of red, blue, green,
yellow and white colour. The face on the top is mis-shapen like that
of a sow, and is blue in colour. All the three are said to reside in the
womb of a Caitya; they stand in the Alidha attitude and bear the image
of Vairocana on the crown. They present a terrifying spectacle with
three eyes, protruding tongue, bare fangs, serpents for ornaments and
garments of tiger-skin.
Vajradhatvlsvarl carries in her six right hands, 1. the sword, . 2. the
Musala, 3. the arrow, 4. the goad, 5. the Vajra and 6. the Parasu,
and in the six left 1. the noose, 2. the Kapala, 3. the Asoka bough,
4. the severed head of Brahma, 5. the bow and 6. the Trisula,
Uddiyana MaricI holds the Cakra in one of her right hands, instead
of the goad, and the Khatvanga-Kapala in one of the left hands instead
of only the Kapala. Vajravetali in one of her right hands holds the
crossed double thunderbolt instead of the goad or the Cakra, and in
one of the left the noose instead of the Kapala or the Khatvafiga-
Kapala. All the other hands carry the same weapons in all the three
cases \
3. USNfsAVIJAYA
Colour— White Faces— Three Arms— Eight
Identification mark— Buddha on lotus
Like Marici, Usmsavljaya is also said to bear the image of Vairo-
cana <^ feet crown and to reside within the womb of a Caitya. She is
one of the most-pqpular deities of the pantheon, and almost every
temple in Nepal contains her image. The most artistic specimen,
however, belongs to the Indian Museum, Calcutta. A miniature Caitya'
1. Sadhana No- 136 in the Sldianamate, p. 280 * ^ - ' - -I
EMANATIONS OF VAIROCANA 215
on the top of the image of Usmsavijaya signifies that she is an offspring
of Vairocana who resides in the centre of the Caitya. It is not impro-
bable that Usnlsavijaya is the deified form of the Dharim of the same
name included in the group of twelve Dharim goddesses. She may
thus represent the deified form of the Usmsavijaya Dharim. Several
Sadhanas describe her form and the Dhyana contained in one of
these is given below :
"suklam trimukham trinetrarh navayauvanam nanalankaradharam
astabhujam Bhagavatlm cintayet ; pitakrsnadaksinetaravadanam ; daksi-
nacaturbhujaih visvavajra-*padmastha-'Buddha'bana'*varadamudradharam,
vamacaturbhujaih capa-tarjanlpasa-abhayahasta'purnakumbhah ; cait-
yaguhagarbhasthitam, Vairocanamukutinirh nispadya..."
Usmsavijaya'Sadhanam." Sadhanamala, p. 394
'The worshipper should conceive himself as (Usmsavijaya} who is
white in complexion, three^faced, three-eyed, youthful and is decked
in many ornaments. Her right and left faces are respectively of yellow
and blue colour. Her four right hands display the Visvavajra. Buddha
on lotus, the arrow and the Varada pose, and her four left hands show
the bow, the noose with the Tarjani, the Abhaya pose and the well-
filled water* vessel. She resides in the womb of the Caitya, and bears
the image of Vairocana on the crown. Thus meditating..."
The statuette (Fig. 156) of Usmsavijaya in the Indian Museum,
Calcutta, agrees almost in all details with the description given in the
Sadhana. The attitude in which she sits here is the Vajraparyafika
attitude.
The other illustration (Fig. 157) is the reproduction of a painting
contained in an illuminated manuscript of Pancaraksa in the possession
of Dr. W. Y. Evans- Wentz. In it, the right hand which ought to have
carried the Visvavajra or the crossed thunderbolt, carries the jewel
instead. In all other respects the painting follows the description of
the Sadhana most accurately.
Images of this deity are also found in Tibet l and China 2 .
4. SITATAPATRA APARAjITA
Faces — Three Arms — Six
Colour— White
One Sadhana only is devoted to the worship of this deity. The
word "Vairocananayakam" In the Sadhiaiia shows that she also belongs
i .._..-. . ^***
1. Getty: GNB, p. 135,
2. Clark : TLP, II, p. 286
216 BUDDHIST ICONOGRAPHY
to the 'family of the Dhyani Buddha Vairocana. She is mild in nature
except for the eyes, which display anger* The Dhyana describes her
form in the following manner :
"Sitatapatraparajitam Bhagavatim trimukham sadbhujarh, prati-
mukhtm trinayanam, suklam nllarunadaksinavamamukhim, cakran*
kusadhanurdharadaksinakaram sitavajrasarapasatarjamdharavamakaram
sakrodhadrstikam sarvagrahavidhvamsinim divyalankaravastravatim
Vairocananayakam dhyatva..." Sadhanamala, p. 395
"The worshipper should conceive himself as goddess Sitatapatra
Aparajita, who is three*faced, six armed, and has three eyes in each of
her faces. She is of white colour. Her faces to the right and left are
respectively of blue and red colour. She carries in her three right
hands the Cakra, the goad and the bow, and in the three left the white
Vajra, the arrow and the noose with the Tarjam. She has angry looks,
destroys all sorts of e\il spirits (Grahas lit. Planets), wears celestial
ornaments and garments, and is led by Vairocana. Thus meditating...0
This goddess is called Sitatapatra Aparajita "The Invincible Goddess
with the White Parasol" and should be distinguished from the other
Aparajita who has an entirely different form and is yellow in colour.
Fig. 158 illustrates a Nepalease drawing of the deity Sitatapatra
Apatajita *,
As Sitatapatra this deity is known in Tibet 2 and China 3.
5. MAHASAHASRAPRAMARDANI
Colour— White Arms— Six
Mahasahasrapramardam is another goddess of the Pancaraksa
group, and is assigned to Vairocana exactly in the same way as Mahasi-
tavati and Mahamantranusarim are affiliated respectively to Amitabha
and Aksobhya. Her form is different from that in which she is
worshipped in the Pancaraksa Mandala. Here the Dhyana describes
her form in the following terms :
**MahasahasrapramardanIm atmanam dhyayat ; suklam ekamukhim
sadbhujam ; daksinatribhujesu khadgabanavaradamudrah vamatri*
bhujesu dhanuhpasaparasavah ; vicitralahkaradharam rupayauvana*
srfigaravatim Vairocanakirltayuktam padmacandrasanaprabham''.
Sadhanamala, p. 400
1. Bhattasali : 1BBS, p. 53, PI. XVIII.
2. Gordon : 1TL, p. 27 ; For Sitatapatra Apatajita see Getty : GNB, p. 136.
3* Clark : TIP, II, pp. 190, 202 under the title of SitatapatrS,
EMANATIONS OF VAIROCANA 217
"The worshipper should conceive himself as Mahasahasrapramar-
dani who is of white complexion, one-faced and six-armed. She
carries in her three right hands the sword, the arrow and the Varada
pose, and in the three left the bow, the noose and the Parasu. She
is decked in variegated ornaments, is young and beautiful, displays
the sentiment of amour, bears the figure of Vairocana on her crown,
sits on the moon over a lotus, and is radiant like the moon".
Images of this deity are found in Tibet ] and China ".
6. VAJRAVARAHI
Asana — Dancing in Ardhaparyahka
Characteristic feature — Excrescence near the right ear.
The union of Vajravarahl with Heruka is the cult of the celebrated
Cakrasamvara Tantra. One of the Sadhanas gives her the epithet of "Sri'
Herukadevasyagramahisi" or <lthe first queen of the god Sn-Heruka".
She is also called a Dakini and in the Buddhist Tantra this signifies any
Sakti with whom the Yuganaddha (yab->um) worship may be per-
formed. It will not be out of place to mention here that Heruka is
also associated with Vajrayogini and then union is the subject ot the
great Heruka Tanti a, but Vajravarahl differs considerably from Vajra-
yogini in form. If Vajravarahl is the first queen ot Heruka, there is no
reason to suppose that Vajrayogini may not be anothei. In fact, it
has already been shown that Heruka in yab-yum lotni used to be
associated with other goddesses, such ys Nanatma and Vajiasrnkhala,
as well. Vajravarahl is represented as nude and as displaying intense
and passionate love.
The name Vajravarahi or Adamantine sow' is given to her
for the simple reason that she has an excrescence near her right
ear which resembles the face of a sow. It is far more likely that
Getty's story about Yun-gar's attack on the abbess and the monastery
refers to Vajravarahl than to Marici; for while Mai ici has one face which
may be distorted sow-like, Vajravarahl has a natural excrescence just
near the right ear, which has gained for her the epithet 'Vajraghona' in
the Sadhanas, Another argument in favour of this is that, while Vajra-
varahl is called a Dakini, and is associated with four other Dakmls, she
may quite easily be an abbess, and therefore, a Siddha woman deified,
and not a goddess. But Marici is decidedly a goddess ; she is Vajra-
dhatvlsvari and the consort of a Dhyani Buddha.
1* Gordon : 1TL, p. 76
2. Clark : TLP, II, p 275
28
218 BUDDHIST ICONOGRAPHY
Several Sadhanas, both long and short, describe two distinct forms
of Vajravarahl. who is also known as Buddhadakim and Vajravairo*
cam. She is either two-armed or four-armed. Even when two-armed
she may have several forms according to weapons she carries in her two
hands. In one Sadhana only is she said to emanate from the family
of Vairocana, and bear the double Vajra on her head, but the others
are silent as to her sire.
Images of this very popular goddess are found in Tibet 1 and
China 2.
(I) VAJRAVARAHI
Colour — Red Appearance — Nude
Arms — Two Asana — Pratyalldha
Symbols — Vajra-Tarjam and Kapala.
Several Sadhanas in the Sadhanamala describe two-armed forms of
Vajravarahl. Below is quoted a Dhyana which gives a general idea of
her form :
Atmanam Bhagavatlm Vajravarahim dadimakusumaprakhyam dvi-
bhujarii daksinakarena vajratarjanikakararh vamena karotakhatvanga-
dharam ekananarh trinetrarh muktakesam sanmudramudritam digam-
bararfa pancajnanatmikam sahajanandasvabhavam, pratyalldhapadakran-
ta- Bhairava-Kalaratrikam sar dramundam alalahkrtagatr am sra vadrudhi-
ram pibantim bhavayet. Sadhanamala, p. 425.
"The worshipper should think himself as goddess Vajravarahl whose
colour is red like the pomegranate flower and is two-armed. She
exhibits in her right hand the Vajra along with the raised index finger,
and shows in the left the Kapala and the Khatvahga. She is one- faced
and three*eyed, has dishevelled hair, is marked with the six auspicious
symbols and is nude. She is the essence of the five kinds of know-
ledge, and is the embodiment of the Sahaja pleasure. She stands in
the Pratyalidha attitude, tramples upon the gods Bhairava and Kalaratri,
wears a garland of heads still wet with blood which she drinks/'
The Sadhana further adds that the four petals of the lotus on which
she stands are occupied by the four goddesses Dakini, Larna, Khanda-
roha and Rupini in the four cardinal directions beginning from the
right. The four companions are of blue, green, red and white colour
respectively, and they are all one-faced and four-armed. They all
carry the Khatvanga, the Kapala in the left hands and the Damaru and
the Kartri in the two right hands.
1. Gordon: ITL, p. 80; Getty: GNB, pp. 131, 132.
2. Clark : TLP, II, p. 238.
EMANATIONS OF VAIROCANA 219
(II) VASYA-VAJRAVARAHl
Symbols — Kami and Kapala Asana — Dancing in Ardhaparyahka
Vahana — Corpse lying on back
This form of Vajravarahl is invoked in those rituals which are per*
formed with the specific purpose of bewitching men and women, and is
very popular in Nepal and other Buddhist countries. This form is
almost identical with the one described above with the difference
that here the goddess wields the Kartri in the right hand instead of the
Vajra, along with the raised index finger. The left has the Kapala like
the previous one. The Khatvanga as usual hangs from her left shoul-
der just as it is seen in the Heruka and Nairatma images. She stands
in the attitude of dancing in Ardhaparyanka on a corpse instead of
showing the Pratyalidha as in the previous case l.
Fig. 159 illustrates a Nepalese drawing of the goddess. A beautiful
statutre of Vajravarahl is preseived in the Baroda Museum (Fig. 160).
(III) ARYA-VAJRAVARAHI
Appearance — Terrible Asana— Alidha
Arms — Four
The four-armed form of Vajravarahl is also similar to the forms
mentioned before, and is called Arya-vajravarahl. The difference lies
only in the attitude, number of arms, and the symbols carried in her
hands. She carries in the two right hands the Vajra and the goad, and
in the two left the Kapala and the Tarjani with the noose. She is
one-faced and three-eyed, and appears terrible with contortions of
eye-brows, the adamantine excrescence, and the protruding tongue,
teeth and belly. She stands in the Alldha attitude on the corpse, unlike
the other forms of Vajravarahl. The Khatvahga hangs from her left
shoulder as usual 2.
7. CUNDA
Colour — White Symbol — Book on Lotus.
Face— One
Arms — Two, Four, Sixteen, Eighteen and Twenty'six.
According to a definite statement s contained in the Nispannayop a-
vail under the Manjuvajra Mandala, Cunda is affiliated to the Dhyani
1. Sadhana No. 220 in the Sadhanamala p. 433.
2. Sadhana No. 224 in the Sadhanamala, pp. 437, 438.
3. Nispannayogavall, p. 52. Here Manjbvajia is the seme as Vairocara.
220 BUDDHIST ICONOGRAPHY
Buddha Vairocana, and thus Cunda is the spiritual daughter of Vairo-
cana, and is required to be classed under the emanations of this very
Dhyani Buddha.
The name of the deity is spelt variously as Cunda, Cundra, Candra,
Canda, and Cundra. She is also called Cundavajri. The spelling of
Cunda as adopted by Foucher appears to be correct since her mantra
as given in the Sadhanamala : "Om Gale Cule Cunde Svaha contains
the word Cunda in the vocative as Cunde Under the circumstances
the correct spelling and the name of the deity as Cunda may be taken
as certain.
From the Sadhana it is not possible to ascertain the character of the
deity or her origin. But from a reference in the Nispannayogavali J
it appears probable that the deity Cunda is the embodiment of the
Buddhist Dharini work called the Cundadharinl to which a reference
is made by Santideva. The Nispannayogavali acknowledges altogether
twelve Dharini deities and gives their descriptions. These Dharims
look ahke when represented and they are usually two-armed, holding
the Visvavajra in the right hand and their special symbols in the left.
The names of the twelve Dharims as given in the Nispannayogavali
are these : 1. Sumati, 2. Ratnolka, 3. Usnisavijaya, 4- Marl
5. Parnasabari, 6, Jahgull 7. Anantamukhi 8. Cunda 9. Pra-
jnavardhanl 10. Sarvakarmavaranavisodhani 11. Aksayajfianakar-
anda and 12. Sarvabuddhadharma-Kosavati. These Dharims are
collectively assigned to the Dhyani Buddha Amoghasiddhi, and are des-
cribed later in this book.
The Dharims are a peculiar kind of Buddhist literature which is
supposed to generate great mystic power if repeated continually for a long
time. They are short works mostly composed of meaningless sylla-
bles, sometimes revealing traces of a language now defunct. The deifi-
cation of books is not unknown in Buddhism. The best example of
this is the deity Prajnaparamita, who is the embodiment of the great
Mahayana scripture, the Prajnaparamita, which is believed to have been
rescued from the nether regions by Nagarjuna the Pontiff.
Amongst the Dharini deities Usnisavijaya, Janguli, Parnasaban
and Cunda are popular, and there are Sadhanas and images of these
deities in art. But they represent nothing more than the respective
Vidyas or mantras of which they are the embodiments,
1. See the list of Dharini deities in the Dharmadhatu-Vagisvara Mandate, NSP,
p. 57.
EMANATIONS OF VAIROCANA 221
Cunda thus is the embodiment of the Cunda Dharim or the Cunda
mantra. The Buddhists believe that when the Dharim is repeated in
deep meditation for a long time with concentration and faith, the mantra
vibrations grossen themselves in the concrete form of a deity which the
worshipper visualizes, and thus obtains Siddhi or success. Once realized,
the deity never leaves the worshipper and gives him everything that
he desires.
With regard to the antiquity of Cunda in the Buddhist pantheon,
it may be said that the very first mention of her name Candra which is
considered to be the same as Cunda, appears in the Manjusrimulakalpa,
the composition of which is usually placed cir. 200 A. D. As Cunda-
vajri, she finds mention in one of the earliest Tantric works, the Guhy-
asamaja which was written most probably in the time of Asahga, cir.
300 A. D, Cunda is also mentioned in the Siksasamuccaya of Santideva
in the 7th century. Cunda images are found in illuminated Prajnapara-
mita MSS of the llth century and several Sadhanas are dedicated to
her in the Sadhanamala, the earliest MS of which bears a date which is
equivalent to A. D. 1165. Earlier, she is mentioned in the Nispannayo-
gavall of Abhayakara Gupta (C 1130. A. D.j.
So far only three Sadhanas of Cunda are known, and they are all to
be found in the printed edition of the Sadhanamala as Nos. 1 29,
130, and 131. There is a further description of the goddess in
the same book where Cunda is included as a minor deity
in the Mandala of Astabhuja-Kurukulla. Three more descriptions
are available in the NispannayogavalL
The three Sadhanas in the Sadhanamala describe the principal
deity Cunda in one form only. She is four-armed, one-faced and of
white complexion. The Dhyana is given below :
^Saraccandrabham caturbhujarh daksinena varadam, vame pustaka-
nkitapadmadharam karadvaye patradharam sarvalankarabhusitam"
Sadhanamala, p. 271,
"She is of the colour of the autumn moon, and is four-armed. She
shows the Varada mudra in the right hand and holds the book on a
lotus in the left. The two other hands hold the bowl. She is decked
in all ornaments."
Only one image of Cunda (Fig. 161) of this description was in the
collection of the late Mr. W. B. Whitney 1 of America. The illustra*
tion is from a photograph kindly supplied by the owner.
1. Also illustrated in Gordon : ITJL, p. 74. It is no* in the famous Freer Gallery
of Art.
222 BUDDHIST ICONOGRAPHY
The Sadhanamala also makes Cunda a c'ompanion deity of Astabhvr
ja Kurukulla in Sadhana No. 174, p. 352. In the Isana corner of the
Kurukulla Mandala on a lotus petal sits Cunda while the other petals
are occupied by Prasannatara in the east, Nispannatara in the south,
Jayatara in the west, Karnatara in the north, Aparajita in the Agni
corner, Pradipatara in the Nairrta corner and Gauritara in the Vayu
corner, All the deities including Cunda look alike and are described as
follows :
"Etasca sarva raktavarnah pancatathagatamukuta vajraparyankanisa-
nna daksinabhujabhyam varadamudra-akarnapuritasaradhara vamabhu-
jabhyam utpala-capadharah." Sadhanamala, p, 352.
"All these deities are red in colour. They wear a crown with
the figures of the five Dhyani Buddhas, and sit in the Vajraparyahka
attitude, With the two right hands they show the Vaiada mudra and
the arrow drawn to the ears. They carry in their two left hands the
blue lotus and the bow."
In the Nispannayogavali there are altogether three descriptions of
Cunda. In the Kalacakra Mandala, Cunda is the consort of Takkiraja
who is similar to Ratnasambhava in appearance The relevant passage
is given below :
* 'Cunda sukla savyabhyam mudgara-kuntau vamabhyarh padma^dan^
dau vibhrana". NSP, p. 89
uCunda is white in colour. In the two right hands she carries the
Mudgara (club) and the Kunta (knife) and in the two left the Padma
(lotus) and the Danda (staff) "
Cunda is once again mentioned in the Dharamadhatuvaglsvara
Mandala. In this Mandala her form is described in the following words :
"Cunda sukla aksasutravalambita^kamandaludhara"
NSP, p. 57
"Cunda is white in colour. She carries in her two hands the rosary
to which a Kamandalu is suspended. "
A third form of Cunda is described in the Nispannayogavali in the
Manjuvajra Mandala. It is an elaborate description of Cunda who
is here endowed with as many as twenty-six arms. The relevant extract
is quoted below :
"Cunda candravarna sadvimsatibhuja pradhanabhyam hrdi mula-
mudram daksinairabhayam khadgam ratnadama bljapuram sararh para-
sum gadam mudgaram ahkusam vajram tripatakabhinayarh aksasutram
ca ; vamaiscintSmanidhvajam padam kamandalum pasarh capam saktim
cakram khadgam tarjanam ghantam bhindipalam prajnaparamitapusta*
karh ca vibhrati. NSP, p 49
EMANATIONS OF VAIROCANA 223
"Cunda is moon*white in colour. She has twenty-six arms. With
the two principal hands she exhibits the chief mudra l. In the remain-
ing right hands she shows the 1. Abhaya mudra, 2. sword, 3. gar-
land of jewels, 4. citron, 5. arrow, 6. axe, 7. club, 8. hammer, 9. goad,
10. thunderbolt, 11. Tripataka and 12* rosary. In the remaining left
hands she shows the 1. flag marked with Cintamani jewel, 2. lotus, 3.
Kamandalu, 4. noose, 5. bow, 6. javelin, 7. discus, 8. sword, 9. Tarjam
(raised index finger), 10. bowl, 11. Bhindipala and 12. the Prajna-
paramita Scripture".
Although images of Cunda with twenty^six arms are not available,
there are several images of Cunda with sixteen arms. These can be
identified with the help of a miniature painting of sixteen-armed Cunda
(Fig. 162) available in the manuscript No. Add 1643 of PrajnSparamita
in the Cambridge University Library. This miniature bears a label in
old Newari characters which reads as :
"Pattikere Cundavarabhavane Cunda"
"Cunda in the excellent temple of Cunda at Pattikera/
This inscription leaves no room for doubting the identification of
the sixteen-armed image as that of Cunda. In this figure also the
principal pair of hands exhibits against the chest the mudra which is
called in the Sadhanaas the Mula mudra which is akin if not equal to the
Dharmacakra mudra. Foucher has given a description of the miniature
of Cunda in his L'Iconographie Bouddhique, part I, p. 199. According
to him the two principal hands exhibit the mudra of teaching. The
remaining seven right hands show the 1. Varada mudra, 2. thunderbolt,
3, discus, 4. club, 5. dagger, 6, (indistinct) and 1. rosary. In the seven
left hands she carries the 1. vessel, 2. axe, 3. trident, 4. bow, 5. dagger,
6. (indistinct) and 7. sceptre. Dr. N. K. Bhattasali 2 gives a slightly
different description of the same miniature.
Thus it is apparent that there was an image of Cunda in the Cunda
temple at Pattikera which is identified by Dr. Bhattasali with the
remains on the Lalmai hills in Tippera in East Bengal The miniature
of the Prajnaparamita manuscript obviously depicts the sixteen-armed
image of Cunda, and thus becomes instrumental in identifying several
of her unidentified images.
The Baroda Museum image (Fig. 163) is one such image and is a
small and very artistic piece made of the usual octo-alloy of the Nepalese
school. Thinly covered in the front part with a golden leaf or polish
1. This mudra may be called the Cundamudra which is akin to the Dharmacakra
mudra displayed by Vairocana.
2. Bhattasali : 1BBS, p. 13.
224 BUDDHIST ICONOGRAPHY
which has faded out at many places, on a pedestal there is the prostrate
figure of a man lying on his back. In the Paryahka Asana the deity sits
on the prostrate figure. She is richly dressed and is decked in orna-
ments such as necklace, chain, tiara, ear-rings, bracelets, armlets, anklets
and girdle. She is sixteen-armed. The two principal hands are arranged
in the form of a mudra which is akin to Dharmacakra The remaining
seven right hands show downwards from the top the L sword, 2. Damaru
(kettle-drum), 3. knife, 4. (broken), 5. hammer, 6. garland of jewels,
7. Abhaya mudra. The remaining seven left hands show likewise the
1. discus, 2. bell, 3. noose, 4. dagger, 5. goad, 6. arrow ard 7, Vara-
da mudra. The deity is one-faced.
The Baroda Museum image has therefore to be identified with Cunda,
although there is some minor variation. Similarly, the Bodh Gaya image
found in the Hindu monastery (Fig. 164) has also to be identified with
Cunda with sixteen arms. One more stone image of Cunda is illustrated
in the History of Bengal, Vol. I, pi. xxvi, 64. Here Cunda has eighteen
arms instead of sixteen as in the miniature.
The special feature of the Baroda Museum image is its seat which
is on the prostrate figure of a man. This kind of special seat is absent
in all other images of Cunda so far discovered either in stone or in
metal. But this seat appears to be a special feature of the Cunda
images which it, not against the direction of the Sadhana. Cunda is said
in the Sadhana to be seated on a Sattvaparyahka or a seat spread on a
'Sattva' which usually means a man or an animaL This particular bronze
gives the indication that Sattvaparyahka is a seat that is placed on a man
lying on his back.
Cunda is popular both in Tibet l and China -.
8. GRAHAMATRKA
Faces — Three Arm s — Six
Mudra — Dharmacakra Asana — Vajraparyahka
She has been described in the Dharmakosasangraha in the following
words :
"Grahamatrka trimukha svetapitarakta sadbhuja dakse dharmacakra-
mudia-vajra*sara ; vame kamala'Capa ; sahasradalapadme vajrasana".
Dharmakosasafigraha. fol, 44A.
1. Gordon : ITL, p 74 ; Getty : GNB, pp. 129, 130.
2. Clark : TLP, II, pp. 285, 222, 284.
EMANATIONS OF VAIROCANA 225
"Grahamatrka has three faces of white, yellow and red colour, and
six-arms, displaying the Dharmacakra mudra (in the principal pair of
hands) and carrying the Vajra and the arrow in the two right hands,
and in the two left the lotus and the bow* She sits in the Vajrasona on
a lotus of a thousand petals".
Fig. 165 illustrates a miniature painting in the possession of Dr.
EvanS'Wentz l.
] . Getty : GNB, illustrates a similar miniature on plate LXI, p. 474.
29
CHAPTER IX
EMANATIONS OF AMOGHASIDDHI
There are several Buddhist deities emanating from the Dhyani
Buddha Amoghasiddhi whose colour is green and whose distinctive
signal is the Abhaya mudrau Out of the deities emanating from the
Dhyani Buddha Amoghasiddhi only one is a male, while all others
belong to the female sex. The description of the only male deity,
Vajramrta by name, comes from the Nispannayogavall of Abhaya*
kara Gupta. The deities are described here one after another in the
order of their importance,
1. VAJRAMRTA
Colour — Green Faces — Three
Arms— Six
Vajramrta is the principal deity in the Vajramrta Mandala of the
Nispannayogavall. He is described thus in the text :
"SriAfajramrtah sattvaparyanki priyangusyamah sitaraktamulasavya-
vamamukhatrayo. . . . sadbhujah savajraghantabhujayugmalingitasvabha'
prajnah savyabhyam cakrasi vamabhyam pasankusau vibhranah."
NSP, p. 18.
" Vajramrta sits on a Sattvaparyanka and is green like the Priyangu
flower. He is three- faced, the right and left faces show the white and
red colour. He is six-armed. The two principal hands holding the
Vajra, and the Ghanta, embrace the Prajna of his own creation. The
two other right hands carry the discus and the sword, and the two left
show the noose and the goad."
Vajramrta is represented in China l .
2. KHADIRAVAMTARA v/
Colour — Green Mudra — Varada
Symbol — Utpala *
Companions — Asokakanta and Ekajata.
Tara is the common name applied to a large number of feminine
deities in the Buddhist pantheon. In the Sadhanamala, Jahguli, Parna-
saban. Mahaclnatara, Ekajata and many others are called Taras,
1. Clark : TIP, II, p. 236, ~~
EMANATIONS OF AMOGHASIDDHI 227
including Khadiravam, who is endowed with two hands, showing the
Varada mudra in the right and the Utpala in the left. She can be
recognized by the figures of the two attendant deities, Asokakanta
Marlci and Ekajata. One Sadhana in the Sadhanamala contains a
Dhyana which describes her form thus :
"Haritam Amoghasiddhimakutim varadotpaladharidaksinavamaka-
ram Asokakanta* Marlcy-Ekajatavyagradaksinavamadigbhagam divyaku*
manm . . . dhy atva' *
Khadiravam-Tara-Sadhanam" Sadhanamala, p. 176
"The worshipper should conceive himself as KhadiravanT'Tara of
green colour, who bears the image of Amoghasiddhi on her crown,
and shows the Varada mudra and the Utpala in the right and left hands
respectively. To the right and left of her appear Asokakanta Marlci
and Ekajata, and she appears a celestial virgin... Thus meditating "
She is commonly known as Syama-Tara ] because of her green
colour, and as the Sadhana does not mention any particular A.sana she
may be represented in any attitude, either sitting (Fig. 166) or standing
(Fig. 167). A beautiful statuette in the Baroda Museum shows the
goddess in the Lahta attitude (Fig. 168)
Images of Khadiravam Tara are found in Tibet - and China i>
3. MAHASRI TARA ^
Colour — Green Arms — Two
Mudra— Vyakhy ana Companion— Four
Another deity emanating from the Dhyani Buddha Amoghasiddhi
of green colour is Mahasri Tara "Saviouress of Great Beauty". A single
Sadhana in the Sadhanamala describes her form along with her four
companion deities, such as Ekajata, Asokakanta Marlci, Aryajangull
and Mahamayurl. The Sadhana describes her form as follows :
Mahasritaram candrasanastham syamavarnarh dvibhujam hastadva*
yena vyakhyanamudradharam ekavaktram sarvalahkarabhusitam pars^
vadvayenotpalasobham suvarnasimhasanopari apasrayadisobham nana*
puspSsokacampakanagesvaraparijatakadibhirajitarh-Amoghasiddhimuku*
tinlm. * Sadhanamala, p. 244-245
"Mahasn Tara sits on the seat of the moon, and is green in colour ;
she is endowed with two hands which exhibits the Vyakhyana mudra.
She is one-faced and is adorned with ornaments. Two lotuses beautify
1. IBBS : p. 56, PL XXI-XXII.
2. Getty:GNB,p. 125
3. Clark : TIP, II, p. 267.
228 BUDDHIST ICONOGRAPHY
her sides. She sits on a golden throne furnished with beautiful cushions.
She is decked in a variety of flowers like the Asoka, Campaka, Nagesvara
and Parijataka. She bears on her crown a small figure of Amogha-
siddhi."
Later, the Sadhana gives a description of the four companion
deities. Here Ekajata who is stationed apparently to the left of the
central deity, is of the following description :
"Ekajatarh ardhaparyahkopavistam nllavarnam kartrikapaladharam
sakrodharh lambodaram pihgalajatavibhusitam vyaghracarmambaradha-
ram." Sadhanamala, p. 245
'Ekajata sits in the Ardhaparyahka, is blue in colour, holds the Kartri
( knife ) and the Kapala (skull), and is angry-looking with a protruding
belly. Her hair is of fiery red colour and matted, and she wears a
garment made of tiger-skin."
In the corresponding right side appears Asokakanta who is described
in the following words :
Daksine parsve Asoka kantarh pitavarnam ramamukutinim vajiaso-
kadharam." Sadhanamala, p. 245.
"Towards the right is Asokakanta who is yellow in colour, wears a
crown of jewels, and carries the Vajra and the Asoka flower."
The goddess Arya-JahgulI also appears on the further left, behind the
figure of Ekajata, and is described here as follows :
"Purnarvame Arya-Jangullm syamavarnam sarpavaradahastam.''
Sadhanamala, p. 245.
"Further to the left there is-Arya-Jahguli of green colour showing in
her hands the snake and the Varda mudra."
In the extreme right there is another goddess called Mahamayurl.
She is given the following form in the Sadhana :
"Daksine Mahamayurim mayurapicchavaradahastam".
Sadhanamala, p. 245.
"In the right there is Mahamayurl showing the peacock's feathers and
the Varada mudra,*
The mantra of the central deity Mahasri Tara is given in the Sa-
dhana as :
"Om Tare Tuttare Ture dhanam dade Svaha".
The mantra evidently makes her a goddess of wealth, and as such
the deity must have been worshipped by the Tantric Buddhists, Accord-
ing to a further statement she sits in the Rajalila Asana or the pose of
princely ease.
EMANATIONS OF AMOGHASIDDHI 229
Only one statuette of the deity has been discovered so far. It is
now in the Indian Museum, Calcutta ( Fig. 169 ), In conformity with
the Sadhana the principal deity Mahasn Tara is shown as one-faced
and two*armed exhibiting the Vyakhyana or the Dharmacakra mudrcu
There are two night lotuses on either side. The principal deity sits
in the Rajalila pose on a lion-throne and bears on her crown the
miniature figure of Amoghasiddhi with the Abhaya mudra.
To her left is the fierce figure of Ekajata, sitting in the Ardhaparyan*
ka attitude and holding the Kartri and the Kapala in the two hands. She
has a protruding belly, garment of tiger-skin, and she bears a wrathful
demeanour which is clear on the stone.
To her right similarly, sits Asokakanta Marie! who wears a bejewelled
crown, and carries the Vajra and the A soka flower according to the
direction of the Sadhana*
The statuette also depicts Arya-Jahguli towards the extreme left of
the deity and shows the snake and the Varada mudra in accordance with
the direction of the Sadhana.
The statuette also includes the small figure of Mahamayuri to the
extreme right of the principal goddess. She shows the peacock's
feathers and the Varada mudra.
The Indian Museum image seems to be the only image representing
Mahasn Tara where the sculpture does not deviate even a little from
the description given in the Sa Jhanamala l .
**J
4. VASYATARA
Asana — Bhadr asana Sy m bol — Lotus
Mudra — Varada Colour — Green
Vasyatara, is also known by the name of Aryatara, and only
one Sadhana in the Sadhanamala is assigned to her. There is
practically no difference between her form and that of Khadira-
vam-Tara in as much as both display the Varada mudra in the
right hand and carry the Utpala in the left. Both have green colour,
and both bear the image of Amoghasiddhi on their crowns. In the
case of Khadiravam-Tara, however, no mention is made regarding
the attitude in which she should stand or sit, but here it is expressly
mentioned that Vasyatara should be seated in the Bhadrasana, which
resembles the European fashion of sitting with both legs dangling below
1. For an article on the subject see Proceedings of the Third Oriental Conference,
Madras, p. 257 et. seq,— Identification of an Indian Museum Statuette. Besides this
there are some miniature paintings depicting Mahalrltara.
230 BUDDHIST ICONOGRAPHY
This Asana, or the attitude of sitting alone distinguishes Vasystara from
othetf 6fdinary Taras carrying the Utpala in the left and exhibiting the
Varada mudra in the right. The other point of difference between
Khadiravam-Tara" and Vasyatara is, that the former is accompanied by
the two goddesses, Asokakanta Marici and Ekajata, whereas the latter is
without companions. Khadiravam may sit or stand in any attitude,
but the Sadhana prescribes the Bhadrasana only for Vasyatara.
The accompanying sketch (Fig. 170) represents Vasyatara as she is
pictured in Nepal, and its special importance lies in its depiction of the
Bhadrasana attitude in which the goddess sits 1 .
. 5. SADBHUjA SIT AT AR A
Colour — White Asana — Ardhaparyahka
Faces — Three Arms — Six
There are many Sadhanas for Sitataras, or the Taras of white colour
but in none of them are they mentioned as bearing the image of
Amoghasiddhi on their crowns. It is only in this case that the image
of the Dhyani Buddha is expressly mentioned. This White Tara is
three-faced and six*armed, and the Dhyana describes her form in the
following terms :
"Sitatararh trimukharh sadbhujam pitamladaksinetaramukhim pra-
timukham trinetram varada-ksasutra-saradharadaksinatrikaram utpala-
padma'Capadharavamapanittayam ardhaparyankanisannarh candrasanaca~
ndraprabham jatamukutasthit-Amoghasiddhiih pancamundavibhusitam-
astakarii ardhacandrakrtasekhararh nanalankaradharam dvirastavarsakr*
tirh astasmasanamadhyasthitam.. vicintya/5
Sadbhuja'Sukla-Tarasadhanam Sadhanamala, p. 216
"The worshipper should conceive himself as Sitatara, who is three-
faced, and six-armed. Her right face is yellow and the left blue in colour,
and the faces are endowed with three eyes each. Her three right hands
show the Varada mudra, the rosary and the arrow, and the three left
carry the Utpala, the lotus and the bow. She sits in the Ardhaparyanka
attitude, sits on and shines like the moon, and bears the effigy of Amo-
ghasiddhi on her crown of matted hair. Her head is embellished by five
severed heads and the crescent moon. She is decked in many ornaments,
is twice eight years old, and resides in the midst of the eight cremation
grounds. Thus meditating..."
The accompanying sketch (Fig. 171) shows how she is represented in
Nepal. It tallies in all respects with the description given in the
I. For the Sadhana, see Sadhtnamala, p. 173.
EMANATIONS OF AMOGHASIDDHI 231
Sadhana, except that here she is represented in Vajraparyahka instead of
Ardhaparyanka as required by the Sadhana.
She is known to the Chinese collection at Peiping 2,
6. DHANADA^TARA /
Arms— Four Colour— Green
Dhanada-Tara is one of the four-armed varieties of Tara. The
special features of this goddess are that she rides an animal, and like
Vajratara, is surrounded by eight goddesses, originating from the eight
syllables of the famous mantra "Om Tare Tuttare Ture Svaha". The
symbols that are held in her four hands are also different from all other
varieties of four-armed Tara. The Dhyana describing her form runs as
follow :
"Tara-Bhagavatim atmanath bhavayet ; candrasanaprabham saumyarh
sattvaparyankasthaih, haritasyamam ekavadanam dvilocanam catur*
bhujam aksasutravaradotpalapustakadharam vicitravastralankarava-
tirh-Xocanadibhir-devibhlr-abhisiktam atmanam Amoghasiddhimuku-
tarn dhyayat."
Dhanada-Tara Sadhanam." Sadhanamala, p. 219,
'The worshipper should conceive himself as goddess Dhanada Tara,
who is seated on and has the radiance of the moon, is benign in appear-
ance, sits on an animal, has green complexion, one face, two eyes,
and four arms showing the rosary, the Varada pose, the Utpala and the
book. She wears variegated ornaments and garments... The worshipper
should further conceive himself as receiving homage from the goddesses,
Locana and others, and as bearing the image of Amoghasiddhi on the
crown/'
Images of Dhanada Tara are found in Tibet * and China 3. Fig. 172
illustrates a Nepalese drawing.
7. SITATARA
Colour — White Arms— Four
Mudra — Utpala Mudra
Sitatara, as the name implies, is a Tara of white variety with one
face and four arms. She is accompanied by two goddesses Marici and
Mahamayun. It may be remembered that Khadiravam also is accom-
panied by Marici and Ekajata ; but the difierence is that Khadiravam
1. Clark: TLP, II, p. 282
2. Getty : GNB, p. 123.
3. Clark ; TLP, II, p. 283
232 BUDDHIST ICONOGRAPHY
is two-armed whereas Sitatara is four-armed. The Dhyana contained
in the only Sadhana for her worship in the Sadhanamala describes her
form in the following terms :
"Tarabhagavatlm suklam trinetram caturbhujam Panca'Tathagatamu-
kutim nanalahkaram, bhujadvayena utpalamudram dadhanarh, daksma-
bhujena cintamaniratnasamyuktavaradam, sarvasattvanam asam pari*
purayantirh, vamenotpalamanjarim vibhranam dhyayat.
Tasya daksinaparsve Mariclrh pitarh candrasanam nilambaram
dvibhujam ; vamena raktasokapallavadharam, daksinena sitacamara'
dharam ; raktakancukabharanam.
Vamaparsve Mahamayurim priyangusyamam dvibhujam ; vamena
mayurapicchadharam, daksinena camaradharam, evam vicintya..."
Sadhanamala, p. 215.
'The worshipper should visualise himself as the goddess (Sita)-
Tara of white complexion, with three eyes and four arms. She bears
the images of the five Dhyani Buddhas on her crown, is decked in
many ornaments, exhibits the Utpala mudra with the first pair of hands,
displays the Varada mudra along with the Cintamani jewel in the second
right, and carries the Utpala bud in the second left, and fulfils the
prayers of all beings.
To her right is MancI who is yellow in complexion, sits on the
moon, is clad in blue garments, is two^armed, and carries the bough
with red Asoka flowers in the left hand and the Camara in the right.
She wears a red jacket and ornaments.
To her left is Mahamayuri of green colour, like the Priyahgu fruit,
who is two- armed and carries the peacock's feathers in the left hand
and the Camara in the right. Thus meditating...".
Images of Sitatara ar^ found in Tibet 1 and China -.
>•/ 8. PARNASABARI
Colour — Green Faces — Three
Vahana— - Diseases (in human form) Asana— Pratyalidha.
One form of Parnasabari of yellow colour has already been discuss-
ed along with the female emanations of the Dhyani Buddha Aksobhya.
But here her complexion is green probably because the Dhyani Buddha
Amoghasiddhi, from whom she is said to emanate, is of that colour.
The Mantra calls her 'PisacP and also 'Sarvamariprasamani' or **the
destroyer of all diseases and epidemics". She is almost identical
1 Getty: GNBp. 122. '
2, Clark : TLP, II, pp 189,216.
EMANATIONS OF AMOGHASiDDHI 233
with the form that has been described previously, except that here
her colour is green and she bears the image of Amoghasiddhi on her
crown, instead of that of Aksobhya. She carries the same weapons
as the previous one, but the expressions of their faces are very
different, there a pleasant beaming smile, here an angry laugh. As the
two specimens of Parnasabari discovered in East Bengal both bearing
the image of Amoghasiddhi on the crown, it is necessary to quote the
Dhyana in this case also, for a comparison of the details with the
images reproduced here :
'Tarnasabarim haritam trimukham trinetram sadbhujam krsnasukla-
daksinavamananam vajra-parasu-saradaksinakaratrayam karmuka-patrac*
chata-sapasatarjanivamakaratrayam sakrodhahasitananamnavayauvanava-
tim sapatramalavyaghracarmanivasanam isallambodarlm urdhvasamya-
takeslm adho asesarogamaripadakrantam Amoghasiddhimukutim
atmanarh jhatiti mspadya .." Sadhanamala, p. 308.
'The worshipper should conceive himself as Parnasabari, who has a
green complexion, three-faces, three eyes, and six arms. Her right and
left faces are of blue and white colour respectively. She carries
in her three ri^ht hands the Vajra, the Parasu and the arrow, and in her
three left, the bow, the cluster of leaves and the Tarjanipasa. Her faces
show an angry laugh. She is in the prime of youth, is decked in tiger*
skin and a garment of leaves, has a slightly protruding belly, and hair
tied up above. She tramples under her feet various diseases and pestile-
nces, and bears the image of Amoghasiddhi on the crown Thus
meditating.. ".
The two images of Parnasabari (Figs. 173 and 174) have been dis-
covered by Mr. N. K. Bhattasali ]. These two images follow the
Sadhana most accurately in all details ; the angry laugh has been
correctly depicted in the three faces, and the belly slightly protrudes.
To the right and left are two divinities, Hayagnva, the Hindu god
of Fever, and Sitala, the Hindu goddess of small-pox, and they
are represented in the images as flying in opposite directions
to escape the wrath of Parnasabari. The prostrate figures under
the feet are the Diseases and Pestilences, in human shape. The
figure under the right leg, apparently, is a man attacked with small-pox,
as we can judge from the circular marks all over his body ; the other
figure under the left foot, is probably attacked with some fatal disease.
Both the images of Parnasabari are decidedly very fine specimens of the
Bengal school of art,
l7~Bhattasali : IBBS, p. 58f. Plate XXIII.
30
234 BUDDHIST ICONOGRAPHY
Parnasabarl is represented in Tibet ] and China 2.
9. MAHAMAYURI
Colour — Green Faces — Three
Arms — Six Asana — Ardhaparyahka
Mahamayun is another goddess of the Pancaraksa group, and is
affiliated to Amoghasiddhi in the same way as the other members of the
group are affiliated to one or another of the Dhyani Buddhas. She is
different in form when worshipped in the Pancaraksa Mandala, which
will be described later. When she bears the image of Amoghasiddhi
on the crown she is three-faced and six-armed, but she may have another
form with one face, two arms and yellow complexion, in which case
she will hold peacock's feathers in the rioht hand and display the Varada
mudra in the left. The three-faced and six-armed form of Mahamayun
has been described in the Sadhanamala as follows :
"Mahamayurim haritavarnam trimukham sndbhujarh pratimukham
trinetram krsnasukladaksinetravadanam ; daksinatnhastesu yathakra*
mam rnayurapiccha-bana-varadamudrah ; tatha vamatrihastesu ratnacch-
tacapotsangasthakalasah ; vicitrabharanam, srhgararasam, navayau*
vanum, candrasane candraprabhavatim ardhaparyankimm Amoghasiddi-
mukutirh bhavayet atmanam". Sadhanamala, p. 400.
"The worshipper should visualise himself as Mahamayun, who has
a green complexion, six arms, and three faces, each endowed with three
eyes. Her right and left faces are of blue and white colour respec-
tively. She shows in her three light hands the peacock's feathers, the
arrow and the Varada mudra, and similarly, in the three left hands the
jewel, the bow, and the water-vessel on the lap. She is decked in
wonderful ornaments, displays the sentiment of passionate love, is
youthful, has her seat on, and the radiance of the moon, sits in the
Ardhaparyahka attitude, and bears the image of Amoghasiddhi on the
crown".
Mahamayun is popular in Tibet '•• and China 4 and her images are
found in these countries. She is said to nullify the effect of snake-
poison.
1. Gordon: ITL, p, 71 ; Getty : GNB, p. 134, 135.
2. Clark: TLP, II, pp. 207, 287 two-armed, 287.
3. Gordon : ITL, p, 74 ; Getty : GNB, p, 136.
4. Clark: TLP, II, pp. 206, 275.
EMANATIONS OF AMOGHASIDDHI 235
10, VAJRA£RNKHALA
Colour — Green Faces — Three
Arms — Eight Asana — Lalita
Symbol — Chain
Three Sadhana^ in the SaJhanamala are devoted to the worship of
Vajrasrnkhala. Her colour is green, and as she emanates from Amo-
ghasiddi she bears the image of that Dhyani Buddha on the crown.
"Srnkhala'1 means a chain, and as the goddess carries a chain, marked
with a Vajra, she is called Vajrasrnkhala. The chain, therefore, is her
characteristic sign and should be paid particular attention to, in identi-
fying her images, if ever, thev come ro light. She may be compared
with Vajrasphota another chain- bearing deity. One of the Dh>anas
describes her form in the following manner :
"Haritarh trimukharh astabhujam; prathamamukham Isaddhasarasarh;
daksmarh kapilarh kapilalocanarh ca ; vumarh raktarh bhrkutidarhstra-
karalarh ; daksinesu catuhkaresu abhaya-vajra-srhkhala-saradhaiarii ;
vamacatuhkaraih rudhirapurnakapala-tarjani-pasa-capadharam ; lalitak-
sepasanastharh, marjjaracarmottariyam, Amoghasiddhibhusitoidhva-
pingalakesam vicmtya...
Vairasrhkhaia-Sadhanam/' Sadhanamala, p. 414.
"The worshipper should visualise himself as (Vajrasmkhala) of
green compiexion, with three faces and eight arms. Her first face is
gently smiling, right face is of brown colour with brown eyes, and the
left is of red colour and appears temble with contortions ot the brows
and bare fangs. She shows in the four right hands the Abhaya pose,
the Vajra, the Vajrasrhkhala and the arrow, and in the four left, the
Kapala full of blood, the Tarjani, the noose and the bow. She sits
in the Lalita attitude, ha^ a scarf of cat's skin, and her brown hair rises
upwards and is decorated with the image of Amoghasiddhi. Thus
meditating .".
Vajrasrnkhala may, according to the Sadhanas, have another form l
with three faces and six arms, in which case she carries the Vajra, the
Vajra srhkhala and the arrow in the three right hands ; and the Tarjani,
the noose and the bow in the three left hands. The illustration (Fig.
175) shows this form of the goddess as drawn by the native Citrakaras
of Nepal. She is represented in China -.
1. Sadhana No. 207 in the Sadhanamala, p. 413.
2. Clark: TLP, II. pp. 19f, 311. ' ' ' .'"":'
236 BUDDHIST ICONOGRAPHY
11. VAJRAGANDHARI
Colour — Blue Faces — Six
Arms — Twelve Asana — Pratyalidha
The name of Vajragandharl is already mentioned in connection with
the Mandala of the eight-armed Kurukulla, an emanation of Amitabha.
In this Mandala it is definitely said that Vajragandhan should bear the
image of his sire Amoghasiddhi on her crown. She is thus included
in the family of Amoghasiddhi. Vajragandhan is one of the terrible
goddesses endowed with six faces and twelve arms. A short Sadhana
in the Sadhanamala describes her form as follows :
**Vajragandhari krsna sanmukhi dvadasabhuja urdhvapingalakesl
pratyalldhapada darhstrakaralavadana pratimukham trinetra. Daksina*
bhujesu yathakramam va]ra vajraghanta-khadga-trisula-bana*cakrani ;
vamasadbhujesu khatvahg ahkusa'dhanuh-parasu-pasa-hrttarjanyah ;
prathamamukham krsnam, aparani mukhani pancavarnani visvapadma*-
suryasana ceti". Sadhanamala, pp. 403*404.
''Vajragandhari is blue in colour, six^faced and twelve-armed with
brown hair rising upwards. She stands in the Pratyalidha attitude, and
her faces look terrible with bare fangs and three eyes. She carries in her
six right hands 1. the Vajra, 2. the bell marked with a Vajra, 3. the
sword, 4. the trident, 5. the arrow, and 6. the discus, and in the
six left hands 1. the Khatvafiga, 2. the goad, 3. the bow, 4. the
Parasu, 5. the noose and 6. the Tarjani against the chest. Her first
face is blue, and the other five faces show five different colour. She
rests on the sun supported by a double lotus".
The Dharani quoted in the Sadhanamala gives her the epithets of
YoginI and Bhismabhagini, and she is believed to be the consort of the
Yaksa general, Candavajrapani by name.
Statuettes of this goddess are found in China l
I. Clark i TIP, II, pp. 196* 290.
CHAPTER X
EMANATIONS OF RATNASAMBHAVA
I. GODS
Ratnasambhava is comparatively unimportant in the pantheon of
the Northern Buddhists, as is evident from the small number of deities
that emanate from him. It has already been pointed out that Jambhala
and Vasudhara were known long before the Dhyani Buddhas were
ushered into existence and it appears, therefore, that Jambhala has been
assigned to Ratnasambhava at a late period. Jambhala is connected
with wealth and is said to distribute gems, jewels and riches to his
devotees. Again Ratnasambhava means 'Jewel-born' and whom might
Jambhala, the god of wealth, call his sire if not the Dhyani Buddha
born of jewels ? If one or two forms of Jambhala emanate from
Ratnasambhava, it may be reasonably expected that at least one or two
forms of his consort, Vasudhara, should also issue from the same source.
Inspite of all this, the Buddhists were divided in their opinion as to the
sire of Jambhala, the followers of the Aksobhya cult holding him
as originating from Aksobhya.
Mahapratisara, another of his emanations, belongs to the Pancaraksa
group, and affiliates herself to Ratnasambhava in the same way as the
other members of the group affiliate themselves to one or another of the
five Dhyani Buddhas. Ratnasambhava is distinguished from the other
Dhyani Buddhas by his yellow colour and the Varada mudrahe displays
with his right hand. The male deities that emanate from Ratnasambhava
are Jambhala and Ucchusma-Jambhala, the latter being regarded as a
terrible form of Jambhala.
1. JAMBHALA
Several of Jambhala's forms are noticed in the Sadhanamala, which
states that the god may emanate either from Aksobhya, or from Ratna-
sambhava. The form that emanates from Akaobhya
de?cr4H^ The characteristic feature of Jambhala emanating from
Ratnasambhava is that he carries the mongoose in his right hand and the
citron in the left. The mongoose is supposed to be the receptacle of
all gems and jewels, and when Jambhala presses the two sides of the
mongoose it vomits the treasures within* It is this mongoose which
238 BUDDHIST ICONOGRAPHY
makes it easy to identify Jambhala images. As an emanation of Ratna-
sambhava he may either be represented alone, or in the embrace of his
Sakti in yab^yum. In the Sadhanamalu only three Dhyanas describe
him as single.
When represented in yab*yum, he sits on the moon under which
there is a double lotus of eight petals. He wears all sorts of ornaments,
his complexion is golden yellow and he hj,^ j protruding belly, He
carries the citron and the mongoose in the n^ht and left hands res-
pectively, wears a garland of yellow lotus, a Lid remains in yab-yum with
Vasudhara. The eight petals of the lotus seat Jte occupied by the eight
Yaksas, to wit, Manibhadra, Purnabhadia^ Ohanada. VaisrayanaT Keli-
mall, Ciyikundali, Sukhendra an3~lSarendtj 'who are identical in all
respects with the principal ""figure. Each Yaksa is accompanied by a
Sakti with whom he remains in yab-yum in the vdme way as Jambhala
remains with Vasudhara, and the names oi tiK'se eight Yaksinis are :
Citrakali, Datta, Sudgtta^^Ary^ SubhadriL. AJ.upta.r- Devi and Sarasvatl.
The Yaksinis are identical in form with V jsuJhtha, who is yellow7 in
complexion, carries the ears of corn and show^ rhe Varada mudra in
her two hands.
When single, Jambhala is of golden complexion and carries the
mongoose in the left hand and the citron in the nght. The illustration
(Fig. 176) shows a stone image from Nepal w huh was in the possession
of the late Pandit Siddhiharsa. Here the god is represented as sitting in
the Lalita attitude. Two other specimen* (Hys. 177 and 178) from
Vikrampur1, in Eastern Bengal, depict the god in the same attitude* and
they are some of the finest products of the IVn^al art of medieval times.
There is another form of Jambhala whion is two-armed, carries the
citron and the mongoose in his two hands jnJ tramples upon two semi-
divine beings Sankhamunda and Padmamunda by name, apparently in
the Alidha attitude -.
(a) JAMBHALA (Yab-Yum)
Colour — White Faces— Three
Arms — Six
Jambhala in yab-yum has another form with three faces, six arms and
white colour. According to the Sadhana hus t\\o faces to the light and
left are red and blue respectively, Jambhaia sits in the Vajraparyahka
attitude, and embraces his Prajfia Vasudhara ot his own creation with
1. Bhattasali : IBBS, p. 34, PI. XI.
2. Sadhana No. 287 in the Sadhanamala, p. 5b4
EMANATIONS OF RATN^SAMBHAVA 239
the two principal hands. In the two remaining right hands he carries
the red Vajra and the sword, and in the two remaining left hands he
holds the emerald and ihc lotus. In all other respects he is identical
with the forms described previously *.
Images of Jambhala arc found in Tibet- and China ;. Fig, 179
illustrates a Nepalese drawing ol the deity in yab^yum. w^x"'
2. UCCHUSMA JAMBHALA
Asana — Pratyahdhu Appearance — Terrible
Yahana — Kuvera
This Ucchusma Jambhala is identical in form with the one already
discussed under the emanation of Aksobhya. | Here also Ucchusma
stands in the Pratyahdha attitude with his left leg stretched forward
on the forehead of Kuvera \\ hile the right tramples upon his two legs.
He is terrible to behold, with protruding belly, bare fangs and the
snakes for ornaments. He holJ.s the Kapala full of blood against his
chest in the right hand and looks eagerly at it with three eyes The left
hand as usual holds the mon^oos^e.
Ucchusma Jambhala is rareh represented and his images are not
known except the one at barnaihjalready described under the emana-
tions of Aksobhya. J This unique image shows all the characteristic
features of the god as obtained trom the Sadhanas. The tigure shows
his consort Vasudhara in the left, but the effigy of neither Aksobhya nor
Ratnasambhav7a can be seen on his head. I It is Amitabha who is there.
Nevertheless, this is the onh h^ure known to students of iconography,
as representing Ucchusma Jambhala.
^Jambhala in his fierce form ol Ucchusma or Dimbha is not known
either in Tibet or in China, |
11, GODDESSES
Several Buddhist goddesses* emanate (rom the Dhyani Buddha Ratna-
sambhava with the yellow coloui and the Varada mudra as his recog*
nition symbol. He preside*- over the Ratnakula or the collection of
deities with the jewel at> their family symbol, and the yellow colour as
their family colour. ALL deities which are not specifically mentioned
as emanations of a particular Dh^ ani Buddha can be_ assigned to, the
Dhyani Buddha Ratnasanibhava, provi3e3 TKat they have yellow colour.
On this principle the undernotcd deities are brought under Ratnasam-
bhava, and described one after another.
1. Sadhalia No. 297 in the Sadhan^mala/p. 581
2. Getty : GNB, p. 159
3. Clark : TLP, II, pp^203 , (six-armed), p. 310
240 BUDDHIST ICONOGRAPHY
C 3. VAJRATARA^
^^cx , , . .
Colour — Golden Yellow Faces — Four
Arms— Eight
According to a definite statement l contained in the Vajratara
Mandala of the Nispannayogavali, the Dhyani Buddha Ratnasambhava
is the spiritual sire of Vajratara. She is four-faced and eight^armed
and her description is as under :
"Bhagavati Vajratara suvarnavarna . hemabha'Subhra-nila^lohitamu*
la^savya-pascimottra-caturvaktra astabhuja savyair-vajram pasam saram
sankham ca vibhrati vamaih pitotpalam capam ankusam tarjanlrh ca."
NSP, p. 38
"Goddess Vajratara is of golden yellow colour.. She is four- faced.
The principal face is golden in colour, the right is white, the one behind
is blue and the left red. She has eight arms. In her four right hands she
shows the Vajra, the noose, the arrow and the conch. In the four left
she has the yellow night lotus, the bow, the goad, and the raised
Tarjani."
Vajratara is a popular deity in Buddhism and her images are found
almost everywhere in India. She is popular also in Nepal. In the
Chinese collection of statuettes at Peiping an image of Vajratara is
found under the title of Astabhuja Vajratara 2.
Here, at least one very peculiar image of Vajratara may be noted. It
is in the Indian Museum, Calcutta. The Indian Museum bronze of
Vajratara is in the form of a lotus, and represents the complete Man*
dala with all the attendant deities '•*. It is so constructed that it can be
opened and closed at will. The petals are eight in number, and each
bears the image of an attendant deity. The Dhyana describing her form
in the Sadhanamala and explaining this particular image is as under :
Matrmandalamadhyastham Taradevim vibhavayet I
Astabhujam caturvaktrarii sarvalankarabhusitarh II
Kanakavarnanibham bhavyam kumarilaksanojjvalam I
Pancabuddhamukutim vajrasuryabhisekajam II
Navayauvanalavanyarh calatkanakakundalam I
Visvapadmasamasinarh raktaprabhavibhusitam II
Va jra<-pasa~tatha-sahkha'Saccharody atadak sinam I
Vajrahkusotpaladhanustarjanl'vamadharimih I
Vajraparyhkayogena sadhayet bhuvanatrayam II
Sadhanamala, p. 179
1. NSP : p. 3S Vajratarayah kulelo*Ratne^ah
2. Clark : TLP, II, p. 210
3. See also Bhattasali : IBBS, pp. 45f. pi. XV, XVI, XVII.
EMANATIONS OF RATNASAMBHAVA 241
"The worshipper should conceive himself as Vajratara, who is in the
midst of the circle of the Eight Mothers, is eight-armed, four-faced,
and decked in all ornaments. Her complexion is like the colour
of gold, and she is graceful and resplendent with the auspicious
marks of a virgin ; she bears the images of the five Dhyani Buddhas on
her crown, and is born of the water of consecration of the Vajra and
the sun ; she is effulgent in her blooming youth, has swaying ear-
rings, sits on the double lotus, and radiates red-hued light ; she carries
in her right hands the Vajra, the noose, the conch and the swift arrow,
and in the left the Vajrankusa, the Utpala, the bow and the Tarjanl.
Thus conceiving her as sitting in the Vajra paryahka attitude ( the wor-
shipper) may conquer the three worlds-/'
The Sadhana further describes the deities constituting the Mandala.
In the four cardinal points there should be four goddesses on the four
petals of the lotus on which Vajratara sits,
1. Puspatara (East)
"Purvena Puspataram tu sitavarnam manoramam I
Omkaraksaranispannarh puspadatnakarakularh I
Dvibhujam ekavaktranca sarvai?fikarabhusitarii° II
"On the east is Puspatara, who is white and winsome, is born of the
syllable *Om', carries the garland of flowers, is two-armed, one-faced
and decked in all ornaments.
2, Dhupatara (South)
"Daksme Dhupatararh tu krsnavarnam surupinim 1
Dhupasakhakaravyagram sarvalankarabhusitam'' II
On the south is Dhupatara, who is ot blue colour, attractive,
carries the Dhupa (incenbe) &tick and i& decked in all ornaments."
3. Dipatara (West)
"Pascime Dipataranca dlpa\astik&rakuli I
Pltavarnam mahabhusarh calatkanakakundalariT II
On the west is Dipatara, who carries the torch in her hands, is of
yellow complexion, profusely ornamented and has ear-rings swaying.
4. Gandhatara (North)
''Uttare Gandhataram tu gandhasahkhakarakulam I
Raktavarnanibham devlm bhavayet garbhamandale" II
On the north is Gandhatara, who carries in her hands the conch of
scents, and has red complexion
31
242 BUDDHIST ICONOGRAPHY
i
All these (goddesses) should be situated in the inner circle/'
The Sadhana further says that the following Guardians of the Gates
should also be meditated upon as around the principal goddess, but
apparently not in the same circle with the four described above.
5. VajrankusI (East)
"Purvadvare Vajrankusim ekavaktram dvibhujam vajrahkusotpalaha-
stam vikrtavadanarh krsnavarnam".
"On the eastern gate there is Vajrankusi who is one-faced and
two-armed. She carries in her two hands the goad marked with a
Vajra and the night lotus. She has a distorted face and is blue in
colour/'
6. Vajrapasi (South)
"Daksinadvare Vajrapasim pitavarnam vikrtananam ekavaktram dvi-
bhujam vajrapasahastam''.
uOn the southern gate there is Vajrapasi of yellow colour. She
has one distorted face. She carries in her two hands the noose marked
with a Vajra".
7. Vajrasphotl(West)
"Pascimadvare Vajrasphotim raktavarnam ekavaktram dvibhujam
vikrtavadanam vajrasphotahastarh".
"On the western gate there is Vajrasphotl of red colour. She has
one distorted face. In her two hands she carries the chain marked with
a Vajra".
8. Vajraghanta (North)
"Uttaradvare Vajraghantarh svetavarnam ekavaktram dvibhujam vik-
rtavadanam vajraghantahastam''.
"On the northern gate there is Vajraghanta of white colour. She has
one distorted face. In her two hands she carries the bell marked with
a Vajra".
9. Usmsavijaya (Above)
Goddess Usmsavijaya occupies the upper regions*
10. Sumbha (Below)
Goddess Sumbha occupies the lower reigons.
All these goddesses stand on the orb of the sun in the Alldha attitu-
de with the right leg stretched forward. They are radiant like the Sun-
god and are surrounded with a fiery halo. They are decked in orna-
ments of snakes.
EMANATIONS OF RATNASAMBHAVA 243
These goddesses originate from the ten different letters of the
mantra of Vajratara, which is "Om Tare Tuttare Ture Svaha", consisting
of ten syllables. Each syllable brings forth a goddess, and these
goddesses are said to be the embodiments of the ten Paramitas of the
Mahayana School.
The following are some of the instances in which the mantra of
Vajratara might be applied with success. Let a knot be tied at the end
of a cloth over which the mantra has been recited seven times, and its
wearer can go even to the most inaccessible regions of the Vindhya
mountains without being molested. Tigers, thieves, crocodiles, lions,
snakes, elephants, buffaloes, bears, bulls and the like will flee or even
be destroyed, at the mere recital of the name of the goddess. If one
hundred and eight lotuses are offered into the fire with this mantra, it
will be enough to subdue any woman born of man. The feather of a
crow over which this mantra has been recited thirty-two times, if kept
concealed within the house of an enemy, will destroy it mysteriously in
the course of a week. There is no need to multiply instances. It is
enough to say that Vajratara is sure to bring success to her worshipper
in anything he may undertake, and that is the reason why she is so
popular among the Vajrayanists,
Fig. 180 illustrates the Indian Museum image of Vajratara enclosed
within a lotus, surrounded by all the ten deities of the Vajratara Man-
dala. Fig, 181 is the Orissa image of Vajratara illustrated in N.N. Vasu's
Mayurbhanj Archaeological Survey. Fig. 182 is the image of Vajratara
discovered at the Sarasvatisthan close to the Svayambhu Temple in
Nepal.
Fig. 183 illustrates the Peiping statuette of Puspataia, one of the
attendants of Vajratara.
4. MAHAPRATISARA
Varieties — 1. Three-Faced, Ten-Armed
2. Four-Faced, Eight-Armed
Mahapratisara ! is the principal goddess in the Pancaraksa group,
and her worship is widely prevalent amongst the Tantric Buddhists.
She is represented either singly or in a Mandala in the company of four
other Pancaraksa deities. She is generally yellow when worshipped
independently, and white when worshipped in the Mandala of the five
goddesses. She may be represented with four faces and eight arms,
or with three faces and ten arms, in accordance with the Sadhanas, but
in actual representations she may have three faces and eight arms. The
1. See also Bhtttasali : IBBS, p. 61 and PL XXIV
244 BUDDHIST ICONOGRAPHY
form with three faces and eight arms, is said to bear the image of
Ratnasambhava on the crown, and the other yellow form may also be
assigned to this Dhyani Buddha. The Sadhana describes the former in
the following terms :
"Mahapratisara pita tnmukhi pratimukham trinayana dasabhuja
krsnasitauaksinetaravadana daksmapancabhujesu yathakramam khadga-
vajra'bana'varada'hrdayasayihasta&thacchatiani rath a vamapancabhujesu
capa-dhvaja-ratnacchata-parasu-sankhah Ratnasambhavamukuti krsna-
kancukaraktottariya ca ardhaparyanka-lalitaksepa divyabharanavastra-
bhusita ceti." Sadhanamala, p. 401-402.
"Mahapratisara has yellow complexion, three faces, each with
three eyes, and ten arms ; her right and left faces are of blue and
white colour respectively. She carries in her five light hands the sword
the Vajra, the arrow, the Varada mudra and the parasol held against
her chest, and her five left hands similarly hold the bow, the banner,
the jewel, the Parasu and the conch. She bears the image of Ratna-
sambhava on the crown, has a blue jacket and a red scarf, sits on the
Ardhaparyahka in the Lalita attitude, and wears celestial ornaments and
garments' '.
The form with four faces and eight arms is described under the five
Raksa deities. But there is another form which is worshipped indepen-
dently, and which is almost identical with the preceeding one, except
that here she is endowed with four faces and eight arms. The princi-
pal face is yellow, the right white, the left red, and the face behind blue.
She carries in her four right hands the sword, the Cakra, the Trisula
and the arrow, and in the four left the Parasu, the bow, the noose and
the Vajra.
Two photographs (Figs. 184, 185) represent this form of the goddess,
and these tally with the Sadhana in all other respects except that they
have only three faces instead of four.
The goddess is popular in Tibet l and China -.
5. VASUDHARA
Colour — Yellow Face — One
Arms — Two Symbol— Ears of Corn
\ Vasudhara is the consort of Jambhala and bears the image of either
Aksobhya or Ratnasambhava on her crown. Several Sadhanas in
the Sadhanamala describe her form which is invariably two-armed. As
1, Gordon : ITL, p. 76
2. Clark : TLP, II, pp. 289 (two-armed)
EMANATIONS OF RATNASAMBHAVA 245
none of the Sadhanas mentions the Asana, she may be represented in
any attitude, standing or sitting, V"£he is richl y decked in ornaments and
is invariably accompanied by her attendants. Her complexion is always
yellow, and she carries in her left hand the ears of corn with the vessel
that showers gems, while the right hand exhibits the Varada mudra.
The short Sadhana describing her is as follows :
'Tita^Vam-karaparinatarh dvibhujaikamukhirh pitam navayauvana^
bharanavastravibhusitarh dhanyamanjarmanaratnavarsamanaghata\'ama*
hastarh daksinena varadam anekasakhijana'panvrtarh visvapadmacandia-
sanastharh Ratnasambhavamukutimm...nispadya''.
Sadhanamala, p. 422*3.
"The worshipper should conceive himself as (Vasudbara) who ori'
ginates from the yellow germ syllable 4VanY. She is two^armed, one-
faced, of yellow complexion, is in the prime ot >outh and is decked in
all sorts of ornaments and garments. She carries in her left hand the
ears of corn on a vessel showering gems, while the right exhibits the
Varada mudra. J She is surrounded by many lady friends, rests on the
moon over the double lotus, and bears the image ot Ratnasambhava on
the crown../'.
Images of Vasudhara are not generally met with in sculpture*
She accompanies Ucchusma in the unique Sarnath image already referr-
ed to. The other image from Sarnath is mutilated beyond recognition.
In both cases, however, she is represented standing.) Fig. 186 illustrates
a Nepalese drawing of the goddess.
| Vasudhara is sometimes represented as one^ faced and six-armed, and
as sitting in the Lalita attitude. In the three right hands she exhibits
the Namaskara mudra, the Varada mudra and the ears of corn.
The first left hand has the book, the second the ears of corn, and the
third on the lap carries the vessel containing jewels. Her hair rises
upwards in the shape of a flame, she is beautifully decked in ornaments
and her expression is truly peaceful. | Fig. 187 represents this variety
of the goddess and is a fine specimen of Newan art. Fig. 188 illustrates
a beautiful bronze image of Vasudhara in the Baroda museum.
I Images of Vasudhara are found in Tibet * but not in China. \
6. APARAjITA
Colour — Yellow
Identification Mark — Trampling upon Ganesa
Mudra — Capetadana (Slapping)
The name of Aparajita occurs in the Dhyana for Astabhuja Kuru-
kulla already quoted and translated. There she is said to bear the
Gordon : ITL, p. 72 ; Getty : GNB, p. 131.
246 BUDDHIST ICONOGRAPHY
image of Ratnasambhava on her crown, and to carry in her four hands
the staff, the goad, the bell and the noose,
\ Aparajita is an interesting Buddhist goddess. She tramples upon
Ganesa, and one of her hands is raised in the attitude of dealing a slap,
while her parasol, according to the Sadhana, is held by important
Hindu gods. A very short Sadhana is devoted to her worship, and
the Dhyana contained in the Sadhana describes the form of Aparajita
thus :
"Aparajita pita dvibhujaikamukhl nanaratnopasobhita Ganapatisa-
makranta capetadanabhinayadaksinakara, grhltapasatarjanikahfdayasthi-
tavamabhuja atibhayahkarakaralaraudramukhl asesamaranirdalani
Brahmadidustaraudradevataparikarocchritacchatra ceti. "
Sadhanamala, p. 403.
"Aparajita is yellow in complexion, two^armed, one-faced, is decked
in various gems, and tramples upon Ganesa. Her right hand is raised,
displaying the act of dealing a slap, while the left carries the noose
round the raised index finger against her chest. Her face is awful,
terrible and ferocious. She is the destroyer of all wicked beings, and her
parasol is raised over her head by the host of wicked and ferocious gods,
Brahma and others".
In the Sadhana one epithet of the goddess deserves special notice.
It is Qanapatisamakianid "Who tramples upon Ganapati". The
word 'akranta' is derived from the original root 'kram' to 'trample'. On
the strength of this epithet of the goddess the Nalanda fragment (Fig.
189) showing only the lower half of the full image is identified with
that of Aparajita. In it, the figure to the right of the principal goddess
appeals to be Indra and the rod held bj him seems to be the handle of
the parasol required to be held over her head by the gods beginning
with Brahma. The upper part of the Nalanda image is unfortunately
lpst> Had it been complete, it would have been possible to find the
Capetadana mudra in the right hand of the goddess and the noose with
the raised index finger in {he left, and a parasol over her head in conti-
nuation of the broken handle.
This identification was confirmed when subsequently the Indian
Museum image (Fig. 193) was discovered. This image is only slightly
mutilated but is complete, and resembles the Nalanda fragment in the
lower portion, while the whole image follows with precision, the direc-
tions given in the Sadhana quoted above. This new discovery leaves
no room for doubt regarding the identification.
Aparajita is known in China *. \
1, Clark : TLP, II, pp. 208, 290.
EMANATIONS OF RATNASAMBHAVA 247
7. VAJRAYOGINf
(I) HEADLESS FORM
Colour — Yellow Asana — Alldha
Companions — Two Arms — Two
Symbols — Kartri and severed head
Vajrayogini is another of the important and popular goddesses who
does not seem to bear the image of any of the Dhyani Buddhas on the
crown. Four Sadhanas describe her forms, which are three in number
and conform to two distinct types, very different form each other. In
one case, she has no head on her shoulder, but carries it in her hand,
and in another, she has her head intact. The former form is identical
in appearance with the Hindu goddess Cchinnamasta belonging to the
group of ten Mahavidyas. It is therefore possible to conclude that
this Buddhist goddess was borrowed and incorporated wholly into
their pantheon by the Hindus. She is always accompanied by the two
Yogims on either side of her, who are called Vajravairocani and Vajra-
varnanl. The Sadhana describing her headless form is as follows :
"Bhartarikarh Vajrayogmlrh...puavarnam svayameva svakartri4carti-
ta-svamastaka-vamahastasthitam daksinahastakartrisahitam, urdhvavis^
trtavamabahum, adhonamitadaksinabahum, vasahsunyam, prasantadak'
sinapadam sahkucitavamapadam, bhavayet, Kavandhannihsrtyasrkdha"'
ra svamukhe pravisati, apare ubhayoh parsvayogmyor-mukhe pravisati
iti bhavayet.
Vamadaksinaparsvayoh syamavarna-Vajravarnanl-pitavarna^Vajra-
vairocanyau vamadaksinahastakartrisahite, daksinavamahastakarppara-
sahite, prasaritavamapadaprasaritadaksinapade sankucitetarapade muk*
takesyau bhavayet Ubhayoh parsvayoh, ubhayor-yoginyor-madhye
antarikse atibhayakulam smasanam bhavayet."
Sadhanamala, p. 452-*453.
'The worshipper should conceive himself as Bhattarika Vajrayogini
...of yellow colour, who carries in her left hand her own head severed
by herself with her own Kartri held in her right hand. Her left hand is
raised upwards while the right is placed below. She is nude, and her
right leg is stretched while the left is bent down. He (the worshipper)
should also meditate on the streams of blood issuing from the severed
body as falling into the mouth of the severed head and into the mouths
of the two Yogims on either side of her.
He (the worshipper) should also, conceive the two Yoginis to the
left and right (of the principal goddess), the green Vajravarnam and the
yellow Vajravairocani, both of whom carry the Kartri in their left and
248 BUDDHIST ICONOGRAPHY
right hands respectively, and the cup made of a skull in the right and
left hands respectively. Their left and right legs respectively are stret-
ched forward, while the other legs are bent, and they have dishevelled
hair. On all sides, between the two Yoginls and in the firmament there
is the awful cremation ground'*.
(II) RED FORM
Colour — Red Vahana— Corpse
Symbols — Vajra and Kapala Asana — Alldha
The Red form is no less terrible than the one described above.
She is surrounded on all sides by the terrible burning grounds.
She stands in the Alidha attitude, on the orb of the sun, is in the prime
of youth, and has red complexion. She rides the corpse, is nude, has
three eyes, red and round, contorted brows, protruding belly and
tongue, and is endowed with the six auspicious symbols. She carries
the Kapala in the left hand and the Vajra in the right, while the Khat-
vanga hangs from her left shoulder. This form of Vajrayogini is
similar in many respects to the forms of both Nairatma and Vajra*
varahi, so much so, indeed, that a confusion is likely to arise in the
identification of their images. If an image shows the dancing attitude
in Ardhaparyanka, it may be identified as Nairatma or Vajravarahi,
but if it shows the Alidha attitude, it may have to be identified as Vajra*
yogtni. The excrescence near the right ear arid the corpse lying on its
chest is peculiar only to Vajravarahl ; while the absence of the excres-
cence and the corpse lying on its back point to Nairatma. The Alidha
attitude is peculiar only to Vajrayogini.
(Ill) YELLOW FORM
Colour — Yellow Arms — Two
Symbols — Kartri and Kapala
She may also have a Yellow form, when according to the
Sadhana, she will carry the Kartri ard the Kapala, but in other respects
will be identical with the one just described Another Sadhana adds
the information that the Kapala should be filled with the blood of the
Devas (gods) and the Asuras (demons) and that the hand carrying the
Kartri may show the Tarjani also
Vajrayogini is one of the consorts of Heruka, who remains with her
in yab-yum, and their union is the subject of the celebrated Heruka*
Tantra. The temple of Vajrayogini at Sanku (Fig. 191) in Nepal does
not contain an image of any of these varieties of Vajrayogini. It con*
tains the image of Ugrataia, more popularly known as Mahaclna-Tara,
which is believed to have been carried over there by Bengali priests
EMANATIONS OF RATNASAMBHAVA 249
from a place of the same name in the District of Dacca, about A. D.
1350, when the Muhammadans led their victorious armies over Eastern
Bengal*
Images of Vajrayogim are found in Tibet 1.
8. PRASANNATARA
Colour — Yellow Faces — Eight
Arms- Sixteen
Prasannatara is mentioned twice in the Sadhanamala, once as a com*
panion of Astabhuja Kurukulla and once again as a principal deity in
the Sadhana. As a companion of Kurukulla she is red, but her indepen*
dent form shows the vellow colour. Thus in the absence of more de-
finite information, she has to be assigned to the family of the Dhyani
Buddha Ratnasambhava of yellow colour. The Sadhana devoted to her
independent foim gives her the epithets of Amrtamukhi and Amrta-
locana and there is no doubt that except for the face on the top all her
seven faces are represented as having charmingly sweet expression.
But she is not benign and peaceful. She is fearful like Vidyujjvalaka*
rail, a form of Ekajata. The Dhyana describes her form m the follow-
ing terms :
"Hemavarnarh mahaghoram Taradevirh maharddhikam I
Trinetram astavadanam bhujasodasabhusitam II
Ordhvapingalakesam sardrasatardhamundamalakrtaharam.
Pratyalldhapadopetarii jagattranarh mahabalarii I
Vicitravastranepathyarh hasantim navayauvanam II
Pradhanamukharh pitam daksinam dvitiyam nilarii, trtiyam syamam
caturtham gaganasyamam, vame kundasannibhaih, dvitiyam raktam, trti*
yamgaganasyamam urdhvasyam dhumravarnabham mahaghoram vikato-
tkatam ; daksma-karesu khadga'Utpala-sara-vajra"ankusa-danda-kartri'
abhayadharam ; vamabhujesu sapasatarjanl-kapala'dhanuh-khatvahga'
vajrapasa-Brahmasirah-ratnakalasadharam ; visvapadmacandrastham
suryyaprabhavibhusitam : vamapadena Indtarh, daksinapadena Upen^
dram, padadvayamadhye Rudram Brahmanam cakramya sthitam, sarva-
varanavinasamm bhavayet.
Prasantiatara-Sadhanarh.51 Sadhanamala, p. 241.
"The worshipper should conceive himself as (Prasannatara) who
is of golden complexion, of terrible appearance, bestows prosperity,
is three*eyed, eight-faced and sixteen-aimed. Her broun hair rises
upwards and her necklace is made of half-a-hundred heads wet with
1. Gordon: TLP, p. 81.
32
250 BUDDHIST ICONOGRAPHY
blood. She emancipates the universe and is terrible to behold. She
stands in the Pratyalldha attitude, has smiling faces, is in the fulness of
youth and her garments are of variegated colour. Her first face is
yellow, the second to the right is blue, the third green, and the fourth
blue like the sky ; the face to the left is white like the Kunda flower,
the second red, and the third blue like the sky ; the face on the top is
of the colour of smoke, terrible in appearance, distorted and disfigured.
In her eight right hands are : 1 . the Khatvanga, 2. the Uptala, 3. the
arrow, 4. the Vajra, 5. the Ankusa, 6. the staff, 7. the Kartri
and 8. the Abhaya pose ; and in the left 1. the noose with the
Tarjam, 2. the Kapala, 3. the bow, 4. the Khatvanga, 5. the
Vajra, 6. the noose, 7. the head of Brahma, and 8. the vessel of
gems. She stands on the moon over the double lotus, is radiant with
the glow of the sun, tramples under her left foot Indra, under the right
Upendra, and presses Rudra and Brahma between the two, and destroys
the veils of ignorance".
Fig. 192 illustrates a Nepalese drawing of the goddess which tallies
with the Sadhana in major details.
CHAPTER XI
COLLECTIVE DEITIES
It has been pointed out earlier that the Buddhists, in the medieval
age started an unrelenting process of deification by turning all objects,
cosmic principles, literature, letters of the alphabet, the directions and
even the desires into gods and goddesses, with forms, colour, poses of
sitting, and weapons. In this manner the ten directions, eight kinds
of head-dress, the different kinds of protection, the dances, musical
instruments, components of the door, four kinds of light, important
animals, and various other things were all deified with form, colour and
weapons. In this chapter these collective deities will be briefly
described.
I. TEN GODS OF DIRECTION
The process of deification was applied in Vajrayana to the four
cardinal directions, North, South, JEast and West, and the four interme-
diate corners, such as Vayu, Agni, Isana and Nairrta. With the top-Aid
the bottom the quarters numbered ten, and thus the Buddhist Tantras
added ten gods of the quarters to the already numerous gods in their pan-
theon. The deities of the ten quarters are not, however, the monopoly of
the Buddhists, and it is believed that the Buddhists were indebted to the
Hindus for the deification of the quarters. Amongst the Hindus the
eight Dikpalas are commonly found in the Puranas and Tantric works.
The Dikpalas are supposed to guard the ten quarters, and are said to be
the presiding deities of these directions, or in other words, they are
regarded as the embodiments of these quarters in the form of deities.
The Buddhists improved upon the original ideas of the Hindus and
showed in an artistic style their origin in an Assembly of the Faithful
where the Highest Lord sits in different Samadhis (meditations), and
^ (Hf #+
the rays issuing out of his body Condense themselves first into syllables
which give rise to the different Guardians of the Gates This process of
deification is described in the first chapter of the Guhyasamaja a resume
of which is already given in this book in the very first chapter.
These deities of the ten quarters are frequently mentioned in the
Sadhanas. In the Mandates of the Nispannayogavall they are invariably
252 BUDDHIST ICONOGRAPHY
present and their places are accurately stated. They are always collec-
tively mentioned in the Mandalas or Circles of deities where the direc-
tions play an important part. Their chief function is to remove all
sorts of obstacles for the protection of Dharma.
The ten deities of the quarters are described differently in the
different Mandalas in the Nispannayogavali, and they are sometimes
represented along with their Saktis often in close embrace. They are
often violent in appearance, and although it is not possible here to deal
with all their forms, it is not reasonable to omit a reference to them in
the present state of our knowledge of the Buddhist pantheon. The ten
deities are, therefore, described here one after another in their recog-
nized order, with the relevant passages from the Nispannayogavali des-
cribing their forms
1. YAMANTAKA
Colour — Blue Arms — Six
Faces — Three Direction — East
Yamantaka presides over the East and is one of the popular deities
of the Buddhist pantheon He is also known as Yamari who is often
endowed with two forms known as Krsna- Yamari and Rakta- Yamari.
Some of his forms and Sadhanas have alredy been dealt with in an
earlier chapter. Independant Tantras are also ascribed to his worship.
As a guardian of the Eastern quarter Yamantaka is described in the
Manjuvajra Mandala of the Nispannayogavali, along with his nine other
colleagues. He is described there as :
"Tatra purvasyam arayam Yamantakahkrsnah krsnasitaraktamukhah
krsnavajramudgara-khadga-mani-kamaladhari". NSP, p. 1
"On the Eastern spoke of the wheel there is Yamantaka of blue
colour. His three faces have blue, white and red colour. He holds in
his four hands the hammer marked with the blue Vajra, the sword,
the jewel and the lotus."
4
Yamantaka is six-armed like all other Krodha deities of the quarters.
All the Krodha deities including Yamantaka embrace their Saktis with
their two principal hands.
In the Vajrahufikara Mandala his second name is given as Vajra-
danda. His images are found in China l as also in Tibet 2.
1. Clark ; TLP, II, pp. 52, 73
2, Gordon : ITL, p. 90 ; Getty : GNB, p. 164
COLLECTIVE DEITIES 253
2. PRAJNANTAKA
Clour— White Faces — Three
Arms — Six Direction— South
The second deity in the series is Prajnantaka who presides over the
Southern direction. He is described in the same Mandala as :
"Daksinasyam Prajnantakah sitah [ska] krsnaraktamukho Vajrahki-
tasitadandasimanipadmadhari/' NSP, p. 2
"In the South, there is Prajnantaka, who is white in colour having
three faces of white> blue and red colour* In his four handb he shows
the white staff marked with a Vajra, the sword, the jewel and the
lotus."
The two other hands hold the Sakti. In the Vajrahunkara Mandala
his second name is given as Vajrakundali. His images are found in
China '.
3. PADMANTAKA
Colour — Red Faces — Three
Arms — Six Direction — West
The third Lord of the quarters is Padmantaka who is described in the
Nispannayogavali with the following words :
"Pascimayam Padmantako raktah raktamlasitasyo raktapadmasima-
nicakradhari" NSP, p. 2
"Padmantaka is in the West and is red in colour with three faces of
red, blue and white colour. He holds the red lotus, the sword, the
jewel and the discus."
The two principal hands hold the Sakti in embrace. In the Vajra-
huhkara Mandala he is known by the name of Vajrosmsa. His images
are found in China y.
4. VIGHNANTAKA
Colour — Green Faces —Three
Arms — Six Direction — North
The fourth deity in the series is Vighnantaka who is already well-
known and an account of whom appears in an earliar chapter of this
book. Vighnantaka as the lord of the North appears in the Nispannayo*
gavall as follows :
"Uttarasyam Vighnantako haritah haritasitaraktamukhah karSlavaj*
rasimanipadmadharl." NSP, p. 2
L Clark : TLP, II, p, 59
2. For his statuette in China as Vajro$ni?a, see Clark ; TLP, II, pp. 65* 49*
254 BUDDHIST ICONOGRAPHY
"Vighnantaka is in the North and is green in colour. His three
faces show green, white and red colour. He holds the fearful Vajra,
the sword, the jewel and the lotus."
The principal hands embrace the Sakti as usual. In the Vajrahuhka-
ra Mandala his second name is Analarka. His images are found in
China l.
5. TAKKIRAJA
Colour — Blue Faces — Three
Arms — Six Direction — Agni
Takkiraja as the guardian of the Agni corner is very frequently
referred to in the NispannayogavaK. He is described as :
"Agneyyam Takkirajo nilah mlasitaraktasyo mladandakhadgaman'
yabjadhan." NSP, p. 2
'Takkiraja is in the Agni corner and is blue in colour. His three
faces are blue, white and red. He holds the blue staff, the sword, the
jewel and the lotus/'
The two principal hands hold the Sakti as usual.
In the Vajrahuhkara Mandala his name is Vajrayaksa. In the Dhar~
madhatuvaglsvara Mandala he is Vajrajvalanalarka. His images are
found in China 2.
6. NfLADANDA.
Colour — Blue Faces — Three
Arms — Six Direction — Nairrta
The sixth deity in the series is Niladanda who is the presiding deity
of the Nairrta corner. His form is described as :
"Nairrtyam Niladandah krsnah krsnasitaraktasyo niladandakhadga*
mariyabja'dhan." NSP, p. 2.
"In the Nairrta corner appears Niladanda who is of blue colour
having three faces of blue, white and red colour. He holds the blue
staff, the sword, the jewel and the lotus."
The two principal hands hold the Sakti.
In the Vajrahuhkara Mandala his name is Vajrakala. But in the
Dharmadhatuvaglsvara Mandala his name is Herukavajra. His images
are found in China *.
L Clark : TLP, II, pp. 217,311
2. Clark : TLP, II, p. 303 (as Takkiraja) pp. 66, 145, 269 (as Vajrayaksa).
3. Clark : TLP, II, p. 49 (as Nifadaijda); and p. 75 (as Vajrakala),
COLLECTIVE DEITIES 255
7. MAHABALA
Colour — Blue Faces — Three
Arms — Six Direction — Vayu
The seventh deity in the series is Mahabala, who is the presiding
deity of the intermediate corner of Vayu. His form is described in the
Nispannayogavall in the following words :
"Vayavyam Mahabalah krsnah krsnasitaraktamukhah trisulasimanik'
amaladhari." NSP, p. 2*
"In the Vayu corner appears Mahabala of blue colour with three
faces of blue, white and red colour. He holds the Trisula, the sword,
the jewel and the lotus. "
As usual, with the principal hands he holds the Sakti.
In the Vajrahuhkara Mandala he is given the name of Mahakala. But
in the Dharmadhatuvagisvara Mandala he is known as Paramasva. His
images are found in China 1.
8. ACALA
Colour — Blue Faces — Three
Arms — Six Direction — Isana
Acala is the eighth deity in the series, and is regarded as the presid-
ing deity of the Isana corner. His form is several times described in
the Nispannayogavall. It is probable that this deity is the same as
Acala who is known as Candarosana and is described already in an
earlier chapter.
The description of his form is given below :
"Aisanyam Acalo mlakekarah nilasitaraktasyah khadgavajramanipa-
dmadhari." " * NSP, p. 2
"In the Isana corner there is Acala with blue complexion. His three
faces are blue, white and red. He holds the sword, the Vajra, the jewel
and the lotus. "
In the two principal hands he holds the Sakti in embrace.
In the Vajrahuhkara Mandala he is given the name of Vajrabhisana,
but in the Dharmadhatuvagisvara Mandala his name is Trailokyavijaya.
His images are found in China 2.
L Clark : TLP, II, pp. 49, 217 (as Mahabala) p. 75 (as Mahakalavajra)
2. Clark : TLP, II, p, 116 (as Trailokyavijaya)
256 BUDDHIST ICONOGRAPHY
9. USNFSA
Colour — Yellow Faces — Three
Arms — Six Direction — Up
The ninth deity in this series is Usmsa who is also known as Usmsa-
cakravarti, and presides over the sky above. His form is described thus
in the Nispannayogavali :
"Ordhve Usmsacakarvarti pitah pltanilaraktasyah pitacakrakhadga^
manipadmadhari." NSP, p. 2
uln the upper region there is Usmsacakravarti of yellow colour. His
three faces are yellow, blue and red. He holds the yellow discus, the
sword, the jewel and the lotus/'
His two principal hands hold the Sakti as usual. His images are
found in China ].
10. SUMBHARAjA
Colour— Blue Faces— Three
Arms — Six Direction — Down
The tenth deity in this series, is Sumbharaja who is the embodiment
of the Nether regions. His form is described in the Manjuvajramandala
as follows :
"Adhah Sumbharajo nibh nilasitaraktasyo vajrakhadgamanikamala"
bhrt." NSP, p. 2
"Below is Sumbharaja who is blue in colour. His three faces are
blue, white and red. He holds in his four hands the Vajra, the sword,
the jewel and the lotus."
With the two principal hands he holds the Sakti in embrace.
In the Vajrahuhkara Mandala he is known by the name of Vajrapata-
la. He is not represented in the Chinese collection.
II. SIX GODDESSES OF DIRECTION
Just as there are ten gods of the quarters for all the Mandalas of
principal gods, even so there are six goddesses presiding over the six
quarters, with different names and different weapons in their hands.
An account of these goddesses is not only interesting but also very
important for the purpose of identifying deities of the Buddhist panthe-
on. Their names and weapons are recorded in the Mandala of Vajra-
tara in the Nispannayogavali (p. 38) as also in the Vajratarasadhanam
(p*. 185) in the Sadhanamala. If Puspa, Dhupa, Dipa and Gandha are
added, the number will be ten for the directions.
~ 1. Clark : TLP, II, p. 76
257
33
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258
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259
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6
COLLECTIVE DEITIES 297
1. VAJRANKUSI
Colour— White Face— One
Arms— Two Direction — East
Symbol — Goad
The first goddess in the series is Vajrahkusi who is the presiding
deity of the Eastern direction. Her form is as follows ;
"Purvadvare Vajrankusi (sukla) suklankusahkasav^akara".
NSP, p. 38.
"On the Eastern gate is Vajrankusi white in colour holding in her
right hand the white Goad".
The left hand shows like the rest the raised index firmer. Her ixrages
are found in China * .
2. VAJRAPAsf
Colour — Yellow Face — One
Arms — Two Direction — South
Symbol — Noose
The second goddess in the seiies is Vajrapasi who is the piesiding
deity of the Southern quarter. Her form is as follows :
"Daksine Vajrapasi pita pasabhrt-savyapanipallava*'.
NSP, P. 38.
' 'In the South is Vajrapasi, yellow in colour holding in the right
hand the Noose".
She shows the raised index linger in the left band. Her image is
found in China J. One of the Chinese statuettes is illustrated in
Fig. 193.
3. VAJRASPHOTA
Colour — Red Face — One
Arms — Two Direction — West
Symbol — Chain
The third goddess m the series is Vajrasphota as the presiding deity
of the Western direction. Her form is given as under :
"Pascime Vajrasphota rakta vajrasphotahkasavyakara"
NSP, p. 38.
1. Clark : TLP, II. p. 64
2. Clark : TLP, II, p. 64
38
298 BUDDHIST ICONOGRAPHY
"In the West, there is Vajrasphota, red in colour, holding in her
right hand the Chain marked with a Vajra".
The left hand as usual displays the raised index finger. There are
statuettes of this deity in China l . One of the Chinese statuettes is
illustrated in Fig. 194.
4. VAJRAGHANTA
Colour — Green Face — One
Arms — Two Direction — North
Symbol— Bell
The fourth deity in the series is Vajraghanta, who is the embodiment
of the Northern direction and is described as follows :
"Uttare Vajraghanta syama vajraghantahkadaksinabhuja''.
NSP, p. 38
"In the North there is Vajraghanta, green in colour, holding in her
right hand the Bell",
The left hand of the goddess displays as usual the raised index finger.
A statuette of this goddess occurs in the Chinese collection -.
5. USNISAVIJAYA
Colour— White Face—One
Arms — Two Direction — Up
S y mbol — Discus
The fifth goddess in the series is Usmsavijaya who is the presiding
deity of the Upper region. Her form is described thus :
"Urddhve Usmsavijaya sukla cakrabhrtsavyabhuja".
NSP, p. 38
"In the upper region there is goddess Usnisavijaya, white in colour,
holding the Discus in her right hand".
The left hand of the goddess displays as usual the raised index finger.
A statuette of this deity occurs in China 3.
u Qark:
2. Clark : TLP, II, p. 286.
3. Clark : TLP, II p. 65.
COLLECTIVE DEITIES 299
6. SUMBHA
Colour — Blue Face — One
Arms — Two Direction — Down
Symbol — Noose of Snake
The sixth and the last goddess in the series is Sumbha who is the
presiding deity ot the Nether region. Her form is described as
under :
"Adhah Sumbha nila savyena nagapasadhara"
NSP, p. 38
"Below is Sumbha blue in colour, holding in her left hand the
Nocse made of a snake1'.
Her left hand as usual displays the raised index finger. She is not
represented in the Chinese collection.
III. EIGHT USNISA GODS
In Vajrayana there is a class of gods going under the generic name
of Usmsas. The word Usmsa means 'the crown' but the deities have
nothing to do with the crown. They are usually placed like the gods of
Direction, in the four principal directions and the four intermediate
corners. These eight Usmsa gods seem to be an extension of the four
Dhyani Buddhas, and they show their characteristic symbols and
mudras. They are nevertheless popular in Tantric works, and their
statues are found in China. Hence it is necessary to make a passing
reference to these Usmsa gods briefly, for without an account of these
this chapter is likely to be incomplete. Below is given a description of
these special deities in the same order as they appear in the Durpati-
parisodhana Mandala of the Nispannayogavall, The Usmsa deities
like all other deities of the Mandala are two-armed and one-faced. They
wear rich dress and ornaments, and a bejewelled crown. They sit on
human beings*
1. VAJROSNISA
Colour — White Symbol — Bhusparsa
Direction — East
The first deity in this Usmsa series of gods is Vajrosmsa and his
form is described thus :
"Purvare Vajrosnisah suklo Bhusparsamudrah".
NSP, p. 66
300 BUDDHIST ICONOGRAPHY
"On the Eastern spoke there is Vajrosmsa of white colour. He
shows the Bhusparsa (Earth-touching) mudra".
A statue of this god is found in the Chinese collection l. Fig. 195
illustrates this Chinese statuette.
2. RATNOSNISA
Colour — Blue Symbol — Varada
Direction — South
The second deity in the Usnisa series of gods is Ratnosmsa and his
form is described as under :
"Daksinare Ratnosmso nilo Varadamudrayanvitah".
NSP, p. 66.
"On the Southern spoke there is Ratnosmsa who is blue in colour
and shows the Varada mudra".
His statuette is not found in the Chinese collection.
3. PADMOSNlSA
Colour — Red Symbol — Dhyana
Direction — West
The third deity in the series of eight Usnisa gods is called Padmo^
smsa and his form is described as under :
"Pascimare Padmosmso rakto Dhyanamudrayanvitah"
NSP, p. 66
"On the Western spoke there is Padmosmsa who is red in colour
and shows the Dhyana mudra".
He is not represented in the Chinese collection.
4. VISVOSN1SA
Colour — Green Symbol — Abhaya
Direction — North
The fourth deity in the series of eight Usnisa gods is called Visvo-
snisa and his form is described as under :
"Uttarare Visvosmso harito Abhayapradah".
NSP, p. 66.
1. Clark : TLP, II, p. 65
COLLECTIVE DEITIES 301
"On the Northern spoke there is Visvosnlsa who is green in colour
and shows the Abhaya mudra".
He is not represented in the Chinese collection.
5. TEJOSNISA
Colour — Whitish red Symbol — Sun
Direction — Agm
The fifth deity in the series of the eight Usmsa gods is called Tejo-
snisa, and his form is described as under :
•'Agneyare Tejosmsah sitaraktamisravarnah suryabhrddaksinapanih
katisthavamakarah".
NSP, p. 66
41 On the spoke in the Agni corner there is Tejosmsa of whitish red
colour. In his right hand he holds the disc of the sun while the left
rests on the hip".
A statuette of his is found in the Chinese collection under the title
of Tejorasyusmsa *.
6. DHVAJOSNTsA
Colour — Reddish blue Symbol — Cintamani Banner
Direction — Nairrta
The sixth deity in the series of eight Usmsa gods is called Dhvajosm-
sa, and his form is described in the following words :
"Nairrtyare Dhvajosmso raktamisrakrsnah Cintamanidhvajadha'
rah karabhyam" NSP, p. 66
"On the spoke in the Nairrta corner there is Dhvajosmsa who is
reddish blue in colour. He holds in his two hands the Cintamani
banner"
He is not represented in the Chinese collection.
7. TIKSNOSNISA
Colour — Sky*green Symbol — Sword and Book
Direction - Vayu
The seventh deity in the series of eight Usmsa gods is called Tiksno-
smsa, and his form is described in the following words :
"Vayavyare TIksnosnIso nabhahsyamo daksinapanina krpanarh vibh*
rano vamena pustakarh." NSP, p. 66
1. Clark : TLF, II, p. 158
302 BUDDHIST ICONOGRAPHY
"On the spoke in the Vayu corner there is Tlksnosmsa of sky-green
colour* He holds in the right hand the sword and in the left hand a
manuscript.''
His statuette is found in the Chinese collection l.
8. CHHATROSNISA
Colour — White Symbol — Parasol
Direction — Isana
The eighth and the last deity in the series of eight Usnlsa gods is
called Chhatrosnisa, and his form is described thus :
"Isanare Chhatrosmso subhro bhujabhyam chhatram vibhranah.
NSP, p. 66
''On the spoke in the Isana corner there is Chhatrosnisa who is of
white colour, and holds in his two hands the Chhatra (parasol).
He is not represented in the Chinese collection,
IV. FIVE PROTECTRESSES
The five protectresses or the Raksa deities as they are called in
Tantric works, are popular and well-known amongst the Mahayana
Buddhists, particularly of Nepal. A manuscript copy of the Pancar-
aksa describing the five Raksa deities, their worship on different occa-
sions and their powers, is to be found in almost every Buddhist house-
hold in Nepal. Such manuscripts are often very artistically written and
they bear miniature pictures of not only the five Raksa deities but also
of other Buddhist deities such as the Dhyani Buddhas and their Saktis*
That their worship was much in vogue is evident from the fact that
their images either in stone or in metal are met with in almost all mona-
steries. The miniatures reproduced here are from a manuscript of
Pancaraksa in the possession of Dr. Evans Wentz.
The reason why the five Raksa deities are popular is to be found
in the Sadhanamala According to this authority the five Raksa
deities, when worshipped, grant long life. They protect kingdoms,
villages and meadows. They protect men from evil spirits, diseases and
famines, and from all possible dangers that may befall mankind. The
Pancaraksa is recited in all varieties of domestic difficulties, such as,
illnesses, adversities, loss of wealth, cattle, etc.
All the five deities are worshipped either singly or collectively in a
Mandala. A description of the Pancaraksa Mandala occurs both in
the Sadhanamala and the Nispannayogavall. In both Mahapratisara
1. Clark : TIP, II, p. 131
COLLECTIVE DEITIES 303
is the central or the principal deity while the four others occupy the
four cardinal directions. Below is given a description of the five Raksa
deities as it appears in the Nispannayogavali.
1. MAHAPRATISARA
Colour — Yellow Faces — Four
Arms — Twelve Symbol — Jewel
The place of Mahapratisara is in the centre of the Mandala, and
her form is described in the Nispannayogavali in the following words :
" Mahapratisara pitabharaktaprabhamandalacaturmukha, mulamukharh
pitam, savyam sitam, pascimarh mlam, vamam raktam. Daksine ratna*
cchata-cakra-vajra'sara-khadga^varadamudrah. Vamair^vajram pasam tri-
sularh dhanuh parasum sankham ca bibhratlti dvadasabhuja. Caitya-
lankrtasiraska vajraparyankasma". NSP, p. 42
" Mahapratisara has a yellowish red halo and is four-faced. The
first face is yellow, the right is white, the face behind is blue and the
left is of red colour. In her six right hands she holds : 1. the jewel,
2. the discus, 3. the Vajra, 4» the arrow, 5. the sword and 6. the
Varada mudra. In the six left hands she displays : 1. the Vajra. 2. the
noose, 3. the trident, 4. the bow, 5. the axe and 6, the conch.
Thus the deity is twelve-armed. Her head is beautified with a Caitya,
and she sits in the Vajraparyahka attitude".
The form described in the Sadhanamala is somewhat different. In
this work she has only eight arms instead of twelve. Fig. 196 illustrates
a miniature of Mahapratisara in the collection of Dr. Evant> Wentz.
She is also popular in Tibet l and her statuette occurs in the Chinese
collection of Peiping a.
2. MAHAsAHASRAPRAMARDANl
Colour — White Faces — Four
Arms — Ten Symbol — Discus
Mahasahasrapramardani is the second deity in the group of five
Raksa deities and she is assigned to the eastern direction. Her form is
described in the Nispannayogavali in the following words :
"Purvasyam disi Mahasahasrapramardani visvambhojacandre lalitak-
sepena nisanna sukla candraprabhamandala caturmukhl. Mulam sitam,
savyam krsnam, prstharh pitam, vamam haritam. Savyabhujaih padma-
sthastaracakram varadam ankusam banam krpananca. Vamairvajram
tarjaniih pasarh dhanuh pasanceti dasabhuja." NSP, p. 42.
1. For a Tibetan specimen see Gordon : ITL, p. 76.
2. Clark : TLP, II, pp. 190, 216, 276 as Pratisara.
304 BUDDHIST ICONOGRAPHY
"In the East there is Mahasahasrapramardani sitting in the Lalita
attitude on the orb of the moon placed on a double lotus. She is
white in colour, has a halo of the white moon and is fouivfaced. Her
principal face is of white colour, the right blue, the face behind is
yellow and the left is of green colour. In her five right hands she shows
1. the eight*spoked wheel on a lotus, 2. the Varada mudia, 3. the
goad, 4. the arrow and 5. the sword. In her five left hands she exhibits
1 the Vajra, 2. the raised index finger (Tarjam), 3. the noose
4. the bow and 5. the noose Thus she is ten-armed".
The Sadhanamala describes her form somewhat differently Here
the deity has only eight arms instead of ten. Her images are widely
known in Nepal, and in Tibet and China her statuettes are iound l.
Fig. 197 illustrates a miniature in the collection of Dr. Evans Wentz
3. MAHAMANTRANUSARlNl
Colour — Blue Faces — Three
Arms — Twelve Symbol — Vajra
The form of this third Raksa deity is described in the Nispannayo-
gavali in the following words :
uDaksinasyarh visvambhojasurye suryaprabha Mahamanftranusarinl
vajraparyankini krsna krsnasitarakta-mula- avyavamamukhi. Dvada-
sabhuja. Savyetarabhyam dharmacakramudiam bibhrana aparabhyam
samadhimudram. Aparair-daksinair^vajra-bana-varad'abhayamudrah.
Vamais-tarjanipasam caparh ratnacchatarh padmankitakalasam ca'\
NSP, p. 42.
"In the South on the orb of the sun over a double lotus there is
Mahamantranusanm with the halo of the sun. She sits in the Vajra*
paryahka attitude and is blue in colour Her principal face is blue,
the right is white and the left is red. She is twelve-armed. With one
pair of hands she displays the 2. Dharmocakra mudra. With
another pair of hands she exhibits the 4- Samadhi mudra. In the
remaining four right hands she shows 5. the Vajra, 6. the arrow,
7. the Varada and 8, the Abha>a mudras. The remaining four
left hands exhibit 9. the Tarjam with the noose, 10. the bow, 11 the
jewel and 12. the jar marked with a lotus1'.
Like the other deities of the Pancaraksa group Mahamantranusarinl
is also widely represented. She was probably known in China under
1, For Tibetan specimens, see Gordon : ITL p. 76 ; Getty : GNB, p. 138.
COLLECTIVE DEITIES 305
the title of Mantranudharini l. Fig. 198 illustrates a miniature of the
goddess in the collection of Dr. Evans Wentz. Here as well as in the
Sadhanamala the goddess is twelve-armed. 2.
4. MAHA&TAVATI
Colour— Red Faces— Thi ee
Arms — Eight Symbol — Lotus
The fourth deity in the series of five Raksa goddesses is named as
Mahasitavati to whom the western direction is assigned. Her form is
described in the Nispannayogavali thus :
"Pascimayarh visvabjasurye ardhaparyahkanisanna suryaprabha
Mahasitavati rakta rakta-sita-krsnamulasavyetaravaktra. Astabhuja.
Savyaih sapadmabhayarh, saram, vajrarh, khadgam. Vamais*tarjam-
pasarh, capam, ratnadhvajarh, hrdi pustakam ca bibhrati".
NSP, p. 42
*'ln the West on the orb of the sun on a double lotus there is
Mahasitavati sitting in the Ardhaparyahka attitude with the halo of
of the sun. She is red in colour, and her faces show the red, the white
and the blue colour in the first, the right and the left faces respectively.
She is eight-armed. In the four right hands she displays 1. the lotus with
the Abhaya mudra, 2. the arrow, 3. the Vajra and 4. the sword. In
the four left hands she shows 1. the noose with the Tar jam, 2. the
bow, 3. the jewel banner and 4. the manuscript against the chest".
In the Sadhanamala she is six-armed and green in colour. She is
widely represented in Buddhist countries. Under the title of Sitavati
she is known to the Chinese collection at Peiping B. Fig. 199 is an
illustration of her miniature in the collection of Dr. Evans Wentz 4*
5. MAHAMAYUR1
Colour — Green Faces — Three
Arms — Eight Symbol — Mendicant on Bowl
Mahamayuri is the fifth and the last deity of the Pancaraksa Mandala
of the Nispannyogavall. Her form is described in the following words :
"Uttarasyam visvabjacandre candraprabha sattvaparyahkl Mahamay-
uri harita harita-krsna-sukla-mulasavyetaravaktra. Astabhuja. Savyair-
mayiirapiccham banam varadarh khadgam ca. Vamaih patropari
bhiksum capam utsahgastharatnacchatavarsighatam visvavajraratnanka-
dhvajam ca bibhrana." NSP, p. 42
1. Clark : TLP, II, pp. 205, 275.
2. For a Tibetan specimen, see Gordon : 1TL, p. 76.
3. Clark : TLP, II, pp. 206, 275.
4. For a Tibetan specimen, see Gordon : ITL, p. 76
39
306 BUDDHIST ICONOGRAPHY
"In the North on the orb of the moon on a double lotus, with the
halo of the moon and sitting on a man, there is Mahamayurl. She
is green in colour, and her three faces show the green, the white and
the blue colour in the first, the right and the left faces respectively. She
is eight-armed. In the four right hands she holds 1. the jewel, 2. the
arrow, 3. the Varada mudra and 4- the sword. In the four left hands
she shows 1. the medicant on the bowl, 2. the bow, 3. the jar on
the lap showering jewels, and 4» the banner marked with the double
Vajra and the jewel".
The description of the goddess in the Sadhanamala is somewhat
different. Here she is endowed with the yellow colour* But in both
places she is eight-armed. Like the other Raksa deities Mahamayurl is
widely represented. She is known in Tibet l and in the Chinese collec-
tion at Peiping 2. Fig. 200 illustrates a miniature in the collection of
Dr. Evans Wentz.
According to a statement in the Nispannayogavali any one of the five
Raksa deities may become a leader in the Mandala and occupy the
central position. All the other deities in that case will become her
subordinate companions.
V. TARAS OF FIVE COLOUR
Strictly speaking, only those deities can be called Taras to whom the
mantia : Om Tare Tuttare Ture Svaha is assigned. In the simplest form
Taras carry the night lotus in the left hand and exhibit the Varada
mudra in the right. Some of them bear the miniature image of Amo-
ghasiddhi on their crowns, but others may not have any effigy of the
Dhyani Buddha. It is therefore difficult to identify their images, parti-
cularly in stone where no definite colour can be seen. Special attention
should therefore be paid not only to the particular pose in which the
different Taras sit but also to their companions in order to arrive at a
correct identification. In this section an attempt will be made to
indicate the characteristic features of the numerous Taras described in
the Sadhanas for the purpose of differentiation.
In the Tantric works there are so many different varieties of Tara
that it is physically impossible to classify them correctly without
reference to their peculiar colour. All Taras are therefore brought
together under one head in this section. From the colour of the
different Taras it will be possible to refer them to their respective Kulas
or families presided over by the five Dhyani Buddhas.
1. For Tibetans specimen, see ITL, pp. 74, 76 ; Getty : GNB, pp. 137-138
2. Clark : TLP, II, pp. 206, 275.
COLLECTIVE DEITIES 307
A, GREEN TAR A '
1. Khadiravam Tara shows the Varada mudra in the right hand and
the night lotus in the left. She can be identified by the presence of
Asokakanta Marici and Ekajata.
2. Vasyatara has as her characteristic feature the Bhadrasana or
the European fashion of sitting. It may be noticed however that she
is described as single and as such is not accompanied by any god or
goddess.
3. Aryatara. The characteristic feature of this form of Tara is
that she sits in the Ardhaparyahka attitude and like Vasyatara is entirely
alone.
4. Mahattari Tara may be distinguished by the Vajraparyahka
attitude in which she sits, and also by the fact of her being represen-
ted without any companion whatsoever (Fig, 210).
5. Varada Tara sits m the Ardhaparyanka attitude like Aryatara
but she can be easily recognised by the presence of four goddesses
Asokakanta Marici, Mahama^uri, Ekajata and Janguli. (cf. Mahasri
Tara).
6. DurgottarinI Tara has green complexion, the lotus for
her seat, and garments of white colour; she has four arms and she
carries m the first pair of hands the noose and the goad and displays in
the second the lotus and the Varada mudra.
7. Dhanada Tara carries the book and the rosary in the first
pair of hands, while the second pair carries objects similar to those
held by DurgcttarmL She has an animal for her Vahana, is accom*
panied by eight goddevsses originating from the eight syllables of her
mantra and bears the image of Amoghasiddhi on the crown.
8. Jahguli emanates from Aksobhya and may have three
different colour, yellow, white and green. When green, she is fouiv
armed, and carries the Trisula, the peacock's feathers and a snake in
three hands and exhibits the Abhaya mudra in the fourth.
9. Parnasaban when green, emanates from Amoghasiddhi
and when yellow from Aksobhya, and as such, both of her forms have
already been described. She is generally three- faced and six-armed
but may in rare cases, have four arms also. The peculiarity of the
green variety is that all the three faces depict irritated smile (sakrodha-
hasitananarh).
J . Getty : GNB, p. 123 gives a list of Taras of green colour.
308 BUDDHIST ICONOGRAPHY
B. WHITE TARA '
1. Astamahabhaya Tara. The distinguishing feature of this form
of Tara is that she sits in the Ardhaparyahka attitude and is surrounded
by ten goddesses originating from the ten syllables of the Tara
mantra : Om Tare Tut tare Ture Svaha. These ten deities are identical
in appearance with the principal deity.
2. Mrtyuvancana Tara. The distinctive feature of this form of
Tara is that she bears a wheel on her chest. She is absolutely unatten-
ded and sits in the Vajraparyaiika attitude.
3. Caturbhuja-Sitatara. Her form has already been described as
an emanation of the DhvSni Buddha Amoghasiddhi. She has four
arms and exhibits in the first pair of hands the Utpala mudra, and the
lotus, and the Varada pose in the second. She may be recognized
by the presence of two goddesses, Mahamayurl and Maricl.
4. Sadbhuja-Sitatara. As she bears the image of Amoghasiddhi
on the crown, her form has already been described. She is three- faced
and six-armed and has no companions.
5. Visvamata. She has been described in the Sadhanamala as
one-faced, with the white complexion of the moon, white garments and
a white serpent as her Vahana. She carries the white lotus in the left
hand and exhibits the Abhaya pose in the right. She has not been
described as bearing any image of her sire.
6. Kurukulla as an emanation of Amitabha of red colour generally
assumes the red colour, but when two-armed, she has, according to the
Sadhanamala the white colour. She carries the rosary and the bowl of
lotus, and her Vahana is an animal.
7. Janguli as an emanation of Aksobhya ought to be of blue colour,
but according to the Sadhanamala she may have three colour, white
yellow or green. When white she is one-faced and four-armed, plays
on the Vina with the first pair of hands, and shows the white serpent
and the Abhaya pose in the second.
C. YELLOW TARA *
1. Vajratara. She is yellow, has four faces and eight arms and
bears the image of the Dhyani Buddha Ratnasambhava on her crown*
Forms of Vajratara have been described previously. She is accom-
panied by ten goddesses when worshipped in the Mandala.
L Getty ; GNB, p. 122 gives a list of Taras of white colour.
2* Getty : GNB, p. 124 gives a list of Taras of yellow colour.
COLLECTIVE DEITIES 309
2. Jangull. The yellow variety of Jahguli has three faces and six
arms and bears the image of the Dhyani Buddha Aksobhya on her
crown. This form has already been described.
3. Parnasabari. When yellow Parnasabari is an emanation of
Aksobhya, has three faces and six arms, and a pleasant smile instead of
an irritated expression on her faces. This form of Parnasaban has
also been described under the female emanations of Aksobhya.
4. Bhrkuti is yellow and emanates from Amitabha. She is one-
faced and four-armed, shows the Varada mudra and the rosary in the
two right hands and carries the Tridandl and the Kamandalu in the two
left.
D. BLUE TARA ]
1. Ekajata. She may have several forms with blue colour, and bhe
bears the image of her sire Aksobhya on her crown in all cases. All
her forms have been described previously along with the other emana-
tions of the Dhyani Buddha Aksobhya including the terrible form which
goes by the name of Vidyujjvalakarali of blue colour, with twelve faces
and twenty-four arms.
2. Mahacma Tara. She also bears the image of Asobhya on her
crown, and has already been described as one of the female emanations of
that Dhyani Buddha. She is called Mahacina Tara because she is believed
to have come from Mahacma, the place where she was originally wor-
shipped. She is the subject of the Mahacinakrama-Tantra, and has been
incorporated wholly into the Hindu Tantric pantheon.
E. RED TARA -
There are not many Red Taras in the Sadhanamala, Kurukulla being
the only one belonging to the red variety. As she bears the image of
Amitabha on the crown, she inherits from him as his emanation, her
red complexion. Kurukulla may also bear the image of the five Dhyani
Buddhas on her crown, but that will make no difference as to the colour
of her complexion. She will be white when two-armed, and red when
four, six or eight-armed All her forms have been described
previously.
VI. EIGHT GAURl GROUP
The eight deities of the Gauri group of goddesses are extremely
popular in Vajrayana and are found described in several places both in
the Sadhanamala as well as in the NispannayogavalL These goddesses
1. Getty: GNB, p. 125 gives a list of Taras of blue colour.
2. Getty : GNB, p. 126 gives a list of T§ras of ted colour
310 BUDDHIST ICONOGRAPHY
are represented also in the Chinese collection of statuettes in the city of
Peiping. Although it is not necessary to describe their different forms
extensively, it is however desirable that at least one form should be
recorded here to stimulate interest in their iconography and identification.
Below is therefore given the description of the eight deities of the Gaurl
group in the same order as it appears in the Pancadaka Mandala of
the Nispannayogavali. All the deities are violent in character with
fearful appearance and ornaments, and garlands of heads. They dance
in Pratyalldha and show the raised index finger with clasped fist against
the chest, as the common gesture.
1. GAURl
Colour — White Arms — Two
Symbol — Goad
The first in the series is Gaurl. Her form is described in the Panca-
daka Mandala where the Gaun group of deities surround the principal
god Vajradaka. GaurFs description is as under :
%(Guuri sita savyenankusadharmr1 NSP, p. 75
''Gauri is white and holds in her right hand the goad".
In the left hand she shows the Tarjani against the chest which is the
common gesture. Three statuettes of this goddess are found in the
Chinese collection at Peiping l .
2. CAURl
Colour — Yellow Arms — Two
Symbol — Noose
The second goddess in the Gaun group is Cauri whose form is des-
cribed in the Pancadaka Mandala as follows :
tkCaun pita pasadhara" NSP, p. 75
"Cauri is yellow in colour and holds in her right hand the noose".
She shows the raised index finger in the left like all other deities of
this group*
Only one statuette of this goddess is found in China 2.
3. VETALl
Colour — Red Arms — Two
Symbol — Chain
The third goddess of the Gaurl group is Vetall whose form is
described in the PaScadaka Mandala in the following words :
" Vetall rakta bhujabhyam sphotabhrt." NSP, p, 75
1. Clark : TLP, II, pp. 72, 92, 105
2. Clark : TLP, II, p. 92.
COLLECTIVE DEITIES 311
*'Vetali is red in colour and holds in her two hands the chain."
A statuette of this goddess under the name of Vajravetali is found
in the Chinese collection at Peiping l. Fig. 202 illustrates this Chinese
statuette.
4. GHASMARl
Colour — Green Arms — Two
Symbol— Bell
The fourth goddess of the Gaurl group is Ghasmari whose form is
described in the Pancadaka Mandala as follows ;
"Ghasmari harita vajraghantadhara" NSP, p. 75
"Ghasmari is green in colour and holds in her right hand the bell
marked with a Vajra,17
The left shows the common gesture of Tarjani.
Two statuettes of this obscure goddess are found in the Chinese
collection % One of the two statuettes is illustrated in Fig. 203.
5. PUKKASl
Colour — Blue Arms — Two
Symbol — Bowl
The fifth in the series of the Gauri group of goddesses is Pukkasi whose
form is described in the Pancadaka Mandala in the following words :
"Pukkasi nila Bodhicittaghatahasta." NSP, p. 75
"Pukkasi is blue in colour and holds in the right hand the bowl of
Bodhi mind."
The left shows the Tarjani against the chest as a common gesture,
Two statuettes of this obscure goddess occur in the Chinese collec-
tion :}. One of the two statuettes is illustrated in Fig. 204.
6. SABARl
Colour — White Arms — Two
Symbol — Mem
The sixth goddess in the series of eight deities of the Gaurl group is
described in the Pancadaka Mandala in the following words :
"£abarl sita Merudhara" NSP, p. 75
"Sabari is white in colour and holds in her right hand the Meru
mountain.'*
The left exhibits the common gesture, the Tarjam.
Two statuettes of this goddess are found in the Chinese collection 4.
1. Clark : TLP, II, p. 62.
2. Clark: TLP, II, pp 96, 100.
3. Cark : TLP, II, pp. 91, 100.
4. Clark : TLP, II, pp. 92, 100.
312 BUDDHIST ICONOGRAPHY
7. CANDALl
Colour — Blue Arms— Two
Sym bol-— Fire-pot
The seventh deity among the eight goddesses of the Gauri group is
known as Candali and her form is described in the Pancadaka Mandala
as follows :
"Candali nila vahnikundabhrt", NSP, p. 75
"Candali is blue in colour, and holds a fire-pot in her right hand".
The left shows the common gesture of Tarjani.
Two statuettes of this goddess are to be found in the Chinese
collection J.
8. DOMBl
Colour—Mixed Arms— Two
Symbol — Banner
The eighth and the last goddess in the group of deities headed by
Gauri is described thus in the Pancadaka Mandala as an associate of
Vajradaka :
"Dombi visvavaina mahadhvajapatakam dhatte". NSP, p. 75
"Dombl is of mixed colour and carries in her right hand the high
flag and banner".
The left hand displays the common gesture of the Tarjanl against
the chest.
She is represented only once in the Chinese collection as Dombinl L>.
Fig. 205 illustrates this Chinese statuette.
VII. FOUR DANCE DEITIES^
There are four deities in this group and they are homogenous in cha-
racter. These are Lasya, Mala, GIta, and Nrtya, all required in the
staging of a drama or in entertainments. All these four deities are
popular in the Vajrayana pantheon and are described times without
number both in the Sadhanamala as well as in the NispannayogavalL
In the Chinese collection at Peiping statuettes of these deities are found.
Although it is not possible to describe all their forms here, an endea-
vour will be made at least to describe one typical form of each for the
purpose of recognition. Below is given an account of the four
goddesses headed by Lasya in the same order as it occurs in the Panca-
daka Mandala of the Nispannayogavall. They are violent in charac-
ter with garland of severed heads, and dance in Pratyalidha. They
show the Tarjani against the chest as the common gesture.
1. Clark : TIP, II, pp. 96, 110. ~~
2. Clark : TIP, II, p. 96.
COLLECTIVE DEITIES 313
1. LASYA
Colour — Red Arms — Two
Symbol — Lasya dance
The first deity of the Lasya group is Lasya who is described in the
following words :
"Lasya rakta sagarvarh lasyabhinayobhayabhuja'1. NSP, p. 76
"Lasya is of red colour and with pride she arranges her two hands
in the Lasya act''.
Two statuettes of Lasya are found in the Chinese collection 3. One
of the statuettes is illustrated in Fig. 206.
2. MALA (MALYA)
Colour — Red Arms — Two
Symbol — Garland
The second deity of this group is Mala who is described as follows :
"Mala rakta karabhyarh ratnamalabhrt'1. NSP, p. 76
"Mala is of red colour and holds in her two hands the garland of
jewels".
Three statuettes of this goddess under the slightly different name of
Malya occur in the Chinese collection of images at Peiping *J.
3. G1TA
Colour — Reddish white Arms — Two
Symbol — Indian Gong
The third deity of this group is Gita who is described in the Panca*
daka Mandala as under :
"Gita raktasita bhujabh>arh karhsike vadayanti" NSP, p. 76.
"Gita is reddish white in colour, and with her two hands she is
engaged in playing on the Indian gong (Karhsi).
Three statuettes of this goddess occur in the Chinese collection*.
One of these three statuettes is illustrated in Fig, 207.
1. Clark : TLP, II, pp. 63, 145,
2. Clark : TLP, II, pp. 63, 103, 145,
3. Clark : TLP, II, pp. 63, 94. 146.
40
314 BUDDHIST ICONOGRAPHY
4. NRTYA
Colour — Mixed Arms — Two
Symbol— Vajra
The fourth and the last goddess in the Lasya group is Nrtya whose
form is thus described in the Nispannayogavall :
"Nrtya visvavarna savajrabhujabhyam nrtyanti", NSP, p. 76.
"Nrtya is of variegated colour and she dances with her two hands
holding the Vajra".
Three statuettes of this goddess are noted in the Chinese collection1.
One of the three statuettes is illustrated in Fig. 208*
VIII. FOUR MUSICAL INSTRUMENTS
There is a further group of goddesses representing the four
musical instruments and are often mentioned in the Sadhanas and
Mandalas as companions of important deities. When everything else is
deified there is no reason why these musical instruments should not also
be deified. These four Musical Instruments are named as Vamsa (flute)
Vina (violin), Mukunda ((kettle-drum) and Muraja (drum) and we find
them all deified with human form, colour, faces, hands and symbols.
In the Vajradaka Mandala they are collectively described as nude, violent
in appearance, wearing garlands of skulls and severed heads and dancing
in Pratyalidha. They display the different instruments as their special
symbols. They are described below in the same order in which they
appear in the Pancadaka Mandala.
1. VAMSA
Colour — Red Arms — Two
Symbol — Flute
The first in the series of deities representing the musical instruments
is called Vamsa whose form is described in the following terms in the
Pancadada Mandala :
"Vaihsa rakta karabhyam dhrtavamsam vadayanti". NSP, p. 76
"Vamsa is red in colour. She holds the flute in her two hands and
plays on it/'
She is not represented in the Chinese collection.
1. Clark : TLP, II, pp. 64, 93, 143.
COLLECTIVE DEITIES 315
2. VlNA
Colour — Yellow Arms — Two
Symbol — Vina Instrument
The second goddess representing musical instruments is called Vina,
and her form is described in the following words :
"Vina pita vmavadanakaradvaya/' NSP, 76
"Vina is yellow in colour. With her two hands she plays on the
musical instrument, the Vina."
In the Chinese collection she is represented as goddess Vmadhara
which is the same as Vina l . This Chinese statuette is illustrated in
Fig. 209.
3. MUKUNDA
Colour — White Arms — Two
Symbol — Mukunda Instrument
The third goddess in this series is the goddess Mukunda who plays
on the instrument called the Mukunda. Her form is described thus in
the Nispannayogavali :
"Mukunda sita karabhyarh Mukundarh vadayanti." NSP, p. 76
"Mukunda is white in colour. She plays on the instrument called
the Mukunda with her two hands",
One statuette of Mukunda is found in the Chinese collection under
the name of Mukundadhara, who is the same as Mukunda -* This
Chinese statuette is illustrated in Fig 210.
4. MURAJA
Colour — Smoky Arms — Two
Symbol — Muraja Instrument
The fourth and the last deity in the series of goddesses of musical
instruments is the goddess Muraja whose principal symbol is the Muraja
on which she plays. Her form is described as under :
"Muraja dhumravarna murajavadanaparabhujadvaya."
NSP, p. 76
''Muraja is of the colour of smoke, and she is engaged with her two
hands in playing on the Muraja instrument."
She is not represented in the Chinese collection.
1. Clark : TLP, II, p. 107
2. Clark ; TLP, II, p 107.
316 BUDDHIST ICONOGRAPHY
IX. FOUR DOOR GODDESSES
The door is an important item in household furniture, because of
its power of giving protection against thieves and animals and unpleasant
intruders. The door planks, the lock, the key, and the curtain, all the
four are important articles, and thus these are all deified in Vajrayana.
They are given human form, colour, faces, arms and symbols. They
are found described in the Pancadaka Mandala of the Nispannayogavall.
Collectively they are described as nude, dancing in Pratyalidha, with
fearful appearance, and awe-inspiring ornaments. They are described
below in the same order in which they are treated in the Mandala. They
hold their special symbols appropriate to their names,
1. TALIKA
Colour — White Arms — T wo
Symbol— Lock
The first in the list of door goddesses, is Talika. Her form is des-
cribed as follows :
"Talika sita talikahasta" NSP, p. 77
"Talika is white in colour and holds in her two hands the Talika or
the Lock."
A statuette of this most obscure but interesting deity is found in
the Chinese collection. In this collection her name is somewhat differ-
ently stated as Dvaratalakadhara '. Fig. 211 illustrates her statuette in
China.
2. KUNCI
Colour— Yellow Arms— Two
Symbol — Keys
The second goddess in this series is called Kunci from the keys
that she holds. Her form is described as under :
"Kunci pita kuncikahasta", NSP, p. 77
"Kunci is yellow in colour and holds the Keys in her two hands/'
A statuette of this goddess occurs in the Chinese collection under
the title Kuncikadhara. She is of the same description as above L'.
1. Clark : TLP, II, p. 108.
2. Clark : TLP, II, p. 108,
COLLECTIVE DEITIES 317
3. KAPATA
Colour — Red Arms — Two
Symbol — Planks
The third deity in the series of the four door goddesses is called
Kapata. Her form is described as follows :
* 'Kapata rakta kapatadhara". NSP, p. 77
* 'Kapata is of red colour and holds in her two hands the Door
Planks.1'
A statuette of this goddess is found in the Chinese collection under
the title of Dvaradhara. The two are identical ]. Fig, 212 illustrates
her statuette found at Peiping.
4. PATADHARINl
Colour — Blue Arms — Two
Symbol — Curtain
The fourth and the last goddess in the series of four deities of the
door is called by the name of Patadharim. Her form is described in
the Pancadaka Mandala as under :
"Patadharim krsna karabhyarh kandapatam vibhrati."
NSP, p. 77
"Patadharim is blue in colour. She holds in her two hands the
curtain (Kandapata) .
A statuette of this goddess occurs in China under the title of Vita*
nadhara where Vkana means a curtain. The two are identical J.
• X. FOUR HOOT GODDESSES
There are four goddesses of Light in the Vajrayana pantheon. They
are named as Suryahasta, Dlpa, Ratnolka and Taditkara and described
in the Pancadaka Mandala of the Nispannayogavall. Collectively, they
are conceived as nude, and as violent in appearance with garland of
skulls and severed heads. They dance on a corpse in the Pratyalidha
attitude and hold their special marks of recognition in their hands.
They are described below in the order in which they appear in the
Pancadaka Mandala.
1. Clark : TLP, II, p, 108
2. Clark : TLP, II. p. 108
318 BUDDHIST ICONOGRAPHY
1. SURYAHASTA
Colour — White Arms — Two
Symbol — Sun
Suryahasta is the first deity in the series of four goddesses of Light
and her form is described in the following words :
"Suryahasta sita suryamandaladhara". NSP, p. 76
''Suryahasta is of white colour and she holds in her hands the disc of
the Sun".
One statuette of the goddess is found in the Chinese collection
under the tide of Suryadhara. The two are identical l.
2. DIP A
Colour — Blue Arms — Two
Symbol— Light stick
The second Light deity is called Dipa. Her form is described as under:
"Dipa mla dipayastibbrt."' NSP, p. 76
"Dipa is blue in colour and holds in her hands the light stick".
A statuette of this goddess occurs in the Chinese collection. 2. This
Chinese statuette is illustrated in Fig. 213,
3. RATNOLKA
Colour — Yellow Arms — two
Symbol — Jewel
The third in the series of four goddesses of Light is called Ratnolka.
She is described as under :
"Ratnolka pita ratnadhara". NSP, p* 76
"Ratnolka is yellow in colour and holds the jewel in her hands*'.
She is represented in the Chinese collection under the name of
Ulkadhara. This statuette is illustrated in Fig. 214-
4. TADITKARA
Colour — Green Arms — Two
Symbol — Lightening
The fourth and the last in the series of four goddesses of Light is
called Taditkara (Lightening Bearer). Her form is described in the
following words :
'Taditkara harita vidyullatadhara". __
1. Clark : TLP, II, p. 88,
2. Clark : TUMI, pp. 67*90.
COLLECTIVE DEITIES 319
'Taditkara is green in colour and holds in her hands the creeper-
like lightening''.
A statuette of this goddess occurs in the Chinese collection under
the title of Vidyuddhara. The image answers the description in all
details The two are therefore identical !.
XL FOUR ANIMAL-FACED GODDESSES-
There is a set of four very interesting deities described in the
Nispannayogavall ; they all have animal faces and have several forms.
They are given each a different direction in the Mandala. Their names
are : Hayasya, Sukarasya, Svanasya, and Simhasya, according to the
animal face they bear. To this number, in the Kalacakra Mandala, four
more deities with birds f?ces are added for the intermediate corners.
These birds deities are named as Kakasya (crow-faced), Grdhrasya
(vultur effaced), Garudasya (Garuda-faced) and Ulukasya (owl-faced).
All these are described in the text as violent in appearance, nude,
dancing on a corpse, and wearing garlands of severed heads. They carry
in their hands the Kartri (chopper) and the Kapala (skull-cup). A
Khatvahga (magic stick) hangs from their shoulders. They are some-
times two-armed and at others four-armed. When four armed, the four
chief deities are represented like the goddesses of the VajiankusI
group. With regard to the face, it may be noted that the principal
face is either human or of an animal. When it is human, the
animal face is shown over the head or on the crown. Normally, there
are four goddesses in this group, but the series of goddesses found
only in the Kalacakra Mandala are without adequate description. The
group of four goddesses of the Nairatma Mandala is here described.
It may be noted that their images are also popular in the Chinese collec-
tion of Peiping, although a few are available in India also.
1. HAYASYA
Colour— Whitish Blu£ Arms — Two
Symbol — Horse-face
The first in the series of goddesses with animal faces is Hayasya
(horse-faced) and her form is described in the Nairatma Mandala in the
following words :
'Turvadvare Hayasya sitamla" • NSP, p. 16
"On the Eastern gate there is Hayasya of whitish-blue colour".
I. Clark : TLP, II, p. 88. ~ ~~
320 BUDDHIST ICONOGRAPHY
Like all other deities of the group she displays in her two hands the
Kami and the Kapala.
In the Hevajra Mandala of the Nispannayogavali (p. 15) she is des-
cribed as four-armed and four- faced and as similar in appearance to
Vajrankusl.
She is not represented in the Chinese collection,
2. SUKARASYA
Colour — Yellowish Blue Arms — Two
Symbol — Sow-face
The second in the series of four goddesses with animal faces is
Sukarasya (sow-faced) and her form is described in the Nairatma
Mandala thus :
"Daksine Sukarasya pltanila". NSP, p. 16
"On the South there is Sukarasya with yellowish-blue colour"
Like all other goddesses of the group, she also holds the Kartri in
the right hand and the Kapala in the left.
She is also described as four-armed and four-faced, and as similar in
appearance to VajrapasI ] .
She is not represented in the Chinese collection.
3. SVANASYA
Colour — Reddish Blue Arms — Two
Symbol — Dog- face
The third goddess in the series of four goddesses with animal faces
is called Svanasya (dog-faced) and is described in the Nairatma Mandala
as :
<fcPascime Svanasya raktanlla" ' NSP, p. 16
"On the West there is Svanasya of reddish-blue colour0
Like all other goddesses of the group she holds the Kartri in the
right hand and the Kapala in the left.
In the Hevajra Mandala she is described as four*faced and four-
armed and as similar in appearance to Vajrasphota.
She is not represented in the Chinese collection.
1. A remarkable specimen of the four-armed variety of the goddess is illustrated
in Gordon r ITL, p. 80 under the title of Vajravarahl.
' COLLECTIVE DEITIES 321
4. SIMHASYA
Colour— Reddish Blue Arms— Two
Sy m bol — Lioi>f a ce
The fourth and the last deity in the series is called Simhasya (lion-
faced) in the Nairatma Mandala. Her form is described thus :
"Uttare Simhasya raktanlla" NSP, p. 16
"On the North there is Simhasya of reddish blue colour".
Like all other deities of the group she also holds the Kartri in the
right hand and the Kapala in the left.
She is described in the Hevajra Mandala as four-faced and four-
armed, and as similar in appearance to Vajraghanta.
Under the title of Simhavaktra she appears in the Chinese collec-
tion at Peiping l . She was also known in Tibet *. Figs, 215, 216 illus-
trate a very artistic specimen of Simhasya with human face with the face
of the lion overhead. This image is in the collection of Dr. Moghe of
Khar (Bombay).
XII. FOUR DAKINI GROUP
Usually in this group of goddesses are included the names of Dakini
Lama, Khandaroha and Rupim who are widely mentioned in the Tantric
works of rituals. In the Sumbara Mandala of the Nispannayogavall
their names are mentioned as companion deities of Sambara. Again,
in the Satcakravarti Mandala they are mentioned as companion deities.
But their forms are found described only in the Sadhanamala. Accord-
ing to this authority they are all alike in appearance holding identical
symbols. Only in colour they differ. In the Vajravarahi Sadhana
(No. 217) they are described as follows :
^Pakml-Lama-Khandaroha-Rupimh krsna-syama-rakta-gaurah. Eta
ekavaktrah caturbhuja vame kapalakhatvafigakapalahastah daksine
damarukartrikah trinetra muktakesa nagna alidhasanasamsthita panca-
mudravibhusita bhavayet." Sadhanamala p. 425
"Dakim, Lama, Khandaroha and Rupim are of blue, green, red and
white colour respectively. They are one-faced and four-armed and
carry in their left hands the Kapala-marked Khatvanga and the Kapala,
and in the two right the Damaru and the knife. They are three-eyed,
have dishevelled hair, stand in the Alidha attitude and are decked in
the five bone ornaments. Thus they are to be meditated upon".
1. Clark :TLP, II, p. 314.
2. Gordon : II L, p. 80 illustrates a two-armed image of the deity. See also
Getty : GNB, pp. HO, 150.
41
322 BUDDHIST ICONOGRAPHY
Two statuettes of Dakim occur in the Chinese collection *. The
names of three others do not find mention in China. In Tibet, Lama*
dakim belongs to this group, and a remarkable and perhaps unique
statuette of the goddess from the W.B. Whitney collection in the Freer
Gallery of Art is illustrated in the Iconogrphy of Tibetan Lamaism 2.
Fig. 217 illustrates the Chinese statuette of Dakim, and Fig* 218
is a Nepalese picture of Lama Dakim.
1. Clark : TLP, II, p. 96,110
2. Gordon: ITL,p. 81
CHAPTER Xli
PHILOSOPHICAL DEITIES
In the Nispannayogavali of Abhyakara Gupta mention is made of a
number of deities who are designated here, for the sake of convenience,
as philosophical deities. In Buddhism, the Twelve Paramitas are consi-
dered to be the perfections of cardinal virtues which entitle one to
Buddhahood. They are deified in human form with colour, and
weapons. Similar is the case with the others, such as the Twelve
Vasitas or spritual disciplines, the Twelve Bhumis or the successive
spiritual spheres, the Twelve Dharims or sacred chain of words, the
Four Pratisamvits or the four branches of logical analysis. All these
belong to the realm of philosophy and abstract ideas and, therefore,
they are brought together here under a separate chapter as a matter
of logical necessity.
These deities are rarely represented. Except probably Prajnapara-
mita and some of the Dharim goddesses, others are not even known
in art or sculpture. But their statuettes are found in the Chinese collec*
tion at Peiping, and it is therefore necessary to indicate their forms
from original Sanskrit texts so that the statuettes on the one hand and
the Sanskrit texts on the other may mutually enlighten each other.
In Buddhism, importance is given to the Paramitas or perfections.
These are certain cardinal human virtues carried to perfection in one
birth. It is said that Lord Buddha in each of his previous births
practised one or another of the virtues and carried it to perfection,
and because of that he obtained enlightenment in his last birth. These
Paramitas are usually ten in number, but the Vajrayanists raised the
number to twelve. In Vajrayana the craze for deificatian led to the
conception of the Twelve Paramita goddesses in human form, for the
purpose of worship. One of the Paramtta deities, Prajnaparamita is
the most important and popular in Buddhist countries. Prajnaparamita
or transacendental intuition was taught in the Prajnaparamita scripture
which is supposed to have been rescued from the Nether regions by
Nagarjuna. In the Dharmadh§tuvagisvara Mandalaofthe Nispannayogavali
an account of the iconography of rhe Twelve Paramita deities is given,
324 BUDDHIST ICONOGRAPHY
and it is stated briefly here in the same order as found in the Mandala.
Such a description of all the Paramita goddesses cannot be met with in
any other published literature on Buddhism. The twelve deities collec-
tively have their spiritual father in Ratnasambhava. They are widely
represented in the Chinese collection at Peiping which seems to have
been profoundly influenced by India in general, and the Nispannayoga-
vail in particular. These Paramita deities are described in detail in the
following sections.
1. RATNAPARAMITA
Colour — Red Arms — Two
Symbols — Moon on Lotus
Ratnaparamita heads the list of the Paramita deities and is described
as :
" Ratnaparamita rakta padmasthacandramandaladhara"
NSP, p. 56
"Ratnaparamita is red in colour and holds the disc of the moon on
a lotus in her hand."
According to a statement in the Mandala all the deities are two-
armed, and they hold in the right hand the flag marked with the Cinta*
mani jewel, and in che left their special symbols. Prajnaparamita is an
exception since she has two more hands. The passage is :
"Dvadasaparamita dvibhujah savyena Cintamanidhvajam vamena
svasvacihnadharah Prajnaparamita tvadhikakaradvaya."
NSP, p. 56
"The Twelve Paramitas are two-armed and hold in the right hand
the flag marked with the Cintamani jewel, and in the left their own
symbols. But Prajnaparamita has two more hands."
Ratnaparamita thus holds in the right hand the Cintamani flag and in
the left the moon's disc on a lotus. She is not represented in the
Chinese collection,
2, DANAPARAMITA
Colour— Whitish Red Arms — Two
Symbol — Ears of Corn
Danaparamita is second in the series of Twelve Paramita goddesses
and has been described as :
4 'Danaparamita skaraktavarna nanadhanyamanjarihasta."
T '' ^^ NSP, p. 56
PHILOSOPHICAL DEITIES 325
"Danaparamita is whitish red in colour and holds in her left hand
various kinds of ears of corn."
In the right she displays the Cintamani banner. Her statue is found
in China l.
3. SILAPARAMITA
Colour— -White Arms — Two
Symbol — Flowery Discus
Sila'paramita is the third in the series of Paramita goddesses and her
form has been described thus :
"Silaparamita sveta sapallavagaurakusumacakradhara".
NSP, p. 56
"Silaparamita is white in colour and holds in her left hand the dis-
cus made of white flowers and leaves "
The right hand holds the Cintamani banner as usual. A statuette
of this deity occurs in China ~\
4, KSANTIPARAMITA
Colour — Yellow Arms — Two
Symbol — White Lotus
Ksantiparamita is the fourth in the series of Paramita goddesses
and her form has been described thus :
"Ksantiparamita pita sitabjadhara "
* 'Ksantiparamita is of yellow colour and holds in her left hand
the white lotus."
Her right hand as usual holds the Cintamani banner, A statue of
this deity is to be found in China -\
5. VlRYAPARAMITA
Colour — Green Arms — Two
Symbol — Blue Lotus
Viryaparamita is the fifth Paramita goddess and her form has been
described thus :
"Viryaparamita marakatavarna mlotpaladhara", NSP, p. 56
*' Viryaparamita is of the colour of emerald and holds in her left
hand the blue lotus."
"1. Clark : TLP, II, p. 120
2. Clark: TLP, II, p. !20
3. Clark : TLP, II, p. 120
326 BUDDHIST ICONOGRAPHY
She holds the Cintamani banner as usual. A statue of this deity is
found in China l.
6. DHYANAPARAMITA
Colour — Sky Colour Arms — Two
Symbol— White Lotus
The sixth Paramita goddess in the series is Dhyanaparamita whose
form is described as under :
"Dhyanaparamita gaganasyama sitabjahasta." NSP, p. 56
" Dhyanaparamita is of sky colour and holds in her left hand the
white lotus "
The right hand as usual carries the Cintamani banner. A statuette
ot this goddess is found in China a. Fig. 219 illustrates this Chinese
specimen.
7. PRAJNAPARAMITA
Colour — Yellow Arms — Four
Symbol — Manuscript on Lotus
The seventh goddess in the series is the famous deity Prajnapara-
mita. As the embodiment of the Prajnaparamita literature, she has
been dealt with in detail in a previous chapter. Here she will be des-
cribed as an embodiment of transcendental intuition and as part of
a collection of deities in a group. In the Nispannayogavall her form
has been described as :
'Trajnaparamita kamaniyakanakakantih padmastha-Prajnaparamita-
pustakadhara karadvayena dhrta-Dharmacakramudra*\ NSP, p. 65.
"Prajnaparamita is of delightful yellow colour- In her left hand
she holds the Prajnaparamita book on lotus. The two principal hands
display the Dharmacakra mudra".
The right hand as usual holds the Chintamani banner.
This goddess has been treated in a previous chapter, and her statues
are found in several places. She is represented also in the Chinese
collection at Peiping 6 .
1 Clark : TLP, II, p. 127.
2. Clark : TLP, II, p. 127
3. Clark : TIP, II, pp. 208, 290.
PHILOSOPHICAL DEITIES 327
8. UPAYAPARAMITA
Colour — Green Arms — Two
Symbol — Vajra on Lotus
The eighth goddess in the series is Upayaparamita who has been
described in the Nispannayogavali thus :
"Upayaparamita priyahgusyama pitapadmasthavajrabhrt."
NSP, p. 16
"Upayaparamita is green like the Priyahgu flower and holds in her
left hand the Vajra on a yellow lotus".
The right hand carries the Cintamani banner as usual. Her statue is
found in China l .
9. PRANlDHANAPARAMIlA
Colour— Blue Arms Two
Symbol — Sword an Lotus.
Pranidhanaparamita is the ninth in the series of the Paramita group
of goddesses, and her form has been described as under :
"Pranidhanaparamita nilotpalavarna nllotpalasthakhadgadhara".
NSP, p. 56
4 'Pranidhanaparamita is of the colour of the blue lotus, and she
holds in her left hand the sword on a blue lotus".
The right hand as usual displays the Cintamani banner. Her statuette
is found in China 2, Fig. 220 illustrates this Chinese statuette.
10. BALAPARAM1TA
Colour— Red Arms — Two
Symbol — Manuscript
Balaparamita is the tenth goddess of the Paramita group and her
form has been described thus :
"Balaparamita rakta Prajnaparamitapustakadhara". NSP, p. 56
"Balaparamita is red in colour and holds the book Prajnaparamita
in her left hand1'.
The right hand as usual holds the Cintamani banner. Her statue
is found in China 3.
1. Clark :TLP, II, p. 117. She is kno.vn here by the name of Upayakaulalya
Paramita.
2. Clark : TUP, II, p. 117.
3* Clark : TLP, II, pp. 1 96, 3 1 1 .
328 BUDDHIST ICONOGRAPHY
11. JNANAPARAMITA
Colour— White Arms— Two
Symbol— Bodhi Tree
"Jnanaparamita is the eleventh in the series of the Paramita goddes*
ses, and her form has been described as : u- \ r ? (
"Jnanaparamita subhra nanaratnaphalalankrta'Bodhivrksadhara.-*
*NSP, p. 56
"Jnanaparamita is white in colour and holds in her left hand the
Bodhi tree which is adorned with various kinds of jewels and fruits","
The right hand displays the Cintamani .^banner as usual. A statue
of this goddess is found in China 1 . v < ^ ,
12. VAJRAKARMAPARAMITA
Colour — Variegated Arms — Two
Symbol — Visvavajra on Lotus
Vajrakarmaparamita is the twelfth and the last of the group of
Paramita goddesses and her form has been described thus in the
Dharmadhatuvagisvara Mandala :
" Vajrakarmaparamita visvavarna nilotpalastha-visvavajradhara'\
NSP, p. 56
"Vajrakarmaparamita is of variegated colour and holds in her left
hand the Visvavajra (double thunderbolt) on a blue lotus' '.
The right hand as usual holds the Cintamani banner.
(II) TWELVE VA&TA GODDESSES
The Vasitas according to Buddhism, are the controls or disciplines
which lead to the spiritual regeneration of its followers. The Vajra-
yanists recognized twelve Vasitas, each with a special name and con-
ceived them in the form of deities with heads- arms, weapons and
special symbols. These Vasitas are collectively taken to be the 3piri'
tual daughters of the Dhyani Buddha Amitabha. Below is given a
description of the twelve Vasita goddesses in the same order in which
they appear in the Dharmadhatuvagisvara Mandala of tKe Nispahna*
yogavall. The description of the Vasita goddesses is not found in
the existing original literature and thus it is of unusual interest. Their
iconographjc interest becomes all the more attractive since in Chkia
there are statuettes in metal which correctly represent the Vasita
1. Clark : TLP, II, p. 121
PHILOSOPHICAL DEITIES 329
goddesses. Statues of these are not found anywhere in India, but
their statuettes in the Chinese collection of Buddhist deities at Peiping
are illustrated in the Two Lamaistic Pantheons of W. E. Clark.
i. AYURVA£ITA
Colour — Whitish Red Arms— Two
Symbol— Image of Buddha
The twelve Vasita goddesses are described collectively as two-armed,
holding in their right hands the lotus and in the left proudly bearing
their special symbols, (cf. DvadasVvasita dvibhuja daksinenambhoja-
bhrto vamena sagarvam svasvacihnadharah, op. cit p. 56). Ayurvasita
is the first goddess of the series and her form has been described
thus :
''Ayurvasita sitaraktavarna padmaragamanisthasamadhimudra'
Amitayur-Buddhabimbadhara." NSP, p, 56
"Ayurvasita is whitish red in colour and holds in her left hand
the image of the Buddha Amita>us in the Samadhi mudra on the
Padmaraga jewel .
The right hand displays the lotus as in all other Vasita deities.
Her statue is found in China ] .
2. CITTAVASITA
Colour — White Arms — Two
Sym bol — Vajra
The second goddess in the series is Cittavasita, who has been
described as :
"Cittavasua sita raktapancasucikavajradhara" NSP, p. 56
"Cittavasita is white in colour and holds in her left hand the red
Vajra with five thongs.
The right hand as usual holds the lotus. Her image is found in
China *.
3. PARISKARAVA&TA
Colour— Yellow Arms — Two
Symbol— -Cintamani Banner
The third in the series of Vasita goddesses is Pariskaravasita who
is described in the Dharmadhatuvaglsvara Mandala in the following
words :
"Pariskaravasita pita Cintamanidhvajadhara". NSP, p. 56
1. Clark : TLP, II, p. 136
2. Clark : TLP> II, p. 136
42
330 BUDDHIST ICONOGRAPHY
"Pariskaravasita is yellow in colour and holds in her left hand the
Cintamani banner"*
The right hand displays the lotus as usual. Her statuette is found in
China l.
4. KARMAVA&TA
Colour — Green Arms — two
Symbol— Visvavajra
The fourth in the series of Vasita goddesses is Karmavasita who is
described in the Dharmadhatuvagisvara Mandala as under :
"Karmavasita harita visvavajradhara" NSP, p. 56
"Karmavasita is green in colour, and holds in her left hand the
Visvavajra (double crossed thunderbolt).
The right hand displays the lotus as usual. Her statuette is found
in China a.
5, UPAPATTI VASITA
Colour — Mixed Arms — Two
Symbol — Creepers
The fifth goddess in the Vasita series is Upapattivasita who is des-
cribed in the text as follows :
"Upapattivasita visvavarna vividhavarnajatilatahasta."
NSP, p. 56
"Upapattivasita is of variegated colour and holds in her left hand
various kinds of creepers of variegated colour/'
The right hand displays the lotus as usual. Her statue is found
in China •*. Fig. 221 illustrates this Chinese specimen.
6. RDDHIVA&TA
Colour — Green Arms — Two
Symbol — Sun and Moon on Lotus
The sixth goddess in the Vasita series is Rddhivasita whose form is
described as follows :
"Rddhivasita nabhahsyama padmastha-suryacandra^mandaladhara."
^ NSP, p. 57
1. Clark : TLP, II, p. 136 ~
2. Clark; TUP, II, p. 137
3. Clark : TLP, II, p. 133
PHILOSOPHICAL DEITIES 331
"Rddhivasita is green as the sky and holds in her left hand the discs
of the sun and the moon on a lotus.
The right hand displays the lotus as usual. Her statue is found
in China 1. Fig. 222 illustrates this Chinese specimen.
7. ADHIMUKTIVA&TA
Colour — White Arms — Two
Symbol — Priyangu flower
The seventh goddess in the same series is Adhimuktivasita and her
form is described in the text as follows :
"Adhimuktivasita mrnalagaura priyangukusumamanjarldhara/5
NSP, p. 57
"Adhimuktivasita is white like the stalk of a lotus, and holds in her
left hand the buds of the flowers of Priyangu*"
The right hand displays the lotus as usual. She is not represented in
the Chinese collection.
8. PRANIDHANAVA&TA
Colour — Yellow Arms — Two
Symbol — Blue Lotus
The eighth goddess in the series is Pranidhanavasita whose form is
described in the following words :
Pranidhanavasita pita nilotpala-hasta." NSP, p. 57
"Pranidhanavasita is yellow in colour and holds in her left hand
the blue lotus/'
The right hand displays the lotus as usual. Her statue is found in
China 2
9. JNANAVASITA
Colour — Whitish Blue Arms — Two
Symbol — Sword on Lotus
Jnanavasita is the ninth in the series of Vasita goddesses and her
form is described in the text of Nispannayogavall as follows :
"Jnanavasita sita nilotpalasthakhadgadhara." NSP, p. 57
"Jnanavasita is whitish blue in colour and holds in her left hand the
sword on a blue lotus."
The right displays the lotus as usual. Her statue is found in
China3. ^
1. Clark; TLP, II, p. 133
2. Clark : TLP, II, p. 134
3. Clark : TLP, II, p'. 137
332 BUDDHIST ICONOGRAPHY
10. DHARMAVA&TA
Colour — White Arms — Two
Symbol — Bowl on Lotus
The tenth goddess in the Vasita series of goddesses is Dharmavasita
whose form is described in the text as under :
" Dharmavasita sita raktavarnapadmasthabhadraghatahasta."
NSP, p. 57
"Dharmavasita is white in colour and holds in her left hand
the Bhadraghata (auspicious bowl) on a lotus of red colour/'
The right hand displays the lotus -as usual, A statue of this goddess
is found in China l .
11. TATHAT A VASITA
Colour — White Arms — Two
Symbol — Bunch of Jewels
The eleventh deity in the group of Vasita goddesses is Tathata
whose form is described in the following terms :
"Tathata sveta svetasubhrambhojabhrddaksinapanir*vamena ratna-
manjaridhara". NSP, p 57
"Tathata is white in colour. She holds in her right hand the white
lotus and in the left the bunch of jewels/'
Her statue is found in China 2.
12. BUDDHABODHIPRABHA-VASITA
Colour — Yellow Arms — Two
Symbol — Discus on Banner.
The twelfth and the last goddess in the series of Vasita goddesses
is Buddhabodhiprabha, and her form is described in the Dharmadhatu*
vaglsvara Mandala with the following words :
"Buddhabodhiprabha kanakabha savyenapitapadmasthapancasuci'
kavajradhara vamena Cintamanidhvajopari cakradhara".
NSP, p. 57
"Buddhabodhiprabha is of yellow colour. She holds in her right
hand a Vajra with five thongs on a yellow lotus, and in the left the
discus on the Cintamani banner".
1. Clark :TLP, II, p. 137
2, Clark : TLP, II, p. 107
PHILOSOPHICAL DEITIES 333
(Hi) TWELVE
In Buddhism the Bhumis are recognized as different spiritual spheres
through which a Bodhisattva moves in his quest for Buddhahood and
omniscience. They are recognized as ten in number to which the Vajra-
yana added two to make it twelve. As the Bodhisattva progresses in spi-
ritual path, he develops certain special qualities which entitle him to
move towards the higher Bhumis. They are arranged one upon another
in a regular order with the last at the top which when reached, makes
the Bodhisattva equal to a Buddha and he attains omniscience.
These Bhumis or spiritual spheres also received the attention of
Vajrayana, and in no time they were deified, and were given different
forms. Statues were prepared and many of them were found represen-
ted in China.
These twelve Bhumis are now describe^ in the same order as given
in the Dharmadhatuvagisvara Mandala of the Nispannayogavall, They
are two-armed and hold in the right hand the Vajra and in the left
their own weapons or signs. (Dvadasabhumayo dvibhuja daksine
vajradharinyo vamena svasvacihnadharah, p. 55).
1. ADHIMUKTICARYA
Colour — Red Arms — Two
Symbol — Red Lotus
The first of the twelve heavens is the Adhimukticarya Bhumi and is
described in the following words in the Nispannayogavall :
"Adhimukticaryabhumih padmarakta raktapadmadhara",
NSP, p. 55
"Adhimukticarya Bhumi is of the colour of a red lotus, and holds
in her left hand the red lotus'*.
The right hand as usual holds the Vajra which is the common sign
of all Bhumi goddesses.
She is not represented in the Chinese collection at Peiping,
2. PRAMUDITA
Colour — Red Arms — Two
Symbol — Jewel
The second goddess in the series "of Bhumi deities is Pramudita.
Her form is described in the following words :
"Pramudita rakta Cintamanibhrt". NSP, p, 55
334 BUDDHIST ICONOGRAPHY
"Pramudita is red in colour and holds in her left hand the Cinta^
mani jewel".
The right hand displays the Vajra which is the common sign.
Her statue is found in the Chinese collection '.
3. VIMALA
Colour— White Arms — Two
Symbol — White Lotus
The third goddess in the series of Bhumi deities is known as
Vimala and hei form is described as under :
"Vimala sukla sukla-kamaladhara". NSP, p. 55
" Vimala is white in colour and holds in her left hand the white
lotus0.
The right holds the common symbol, the Vajra.
Her statue is found in the Chinese collection a.
4. PRABHAKARI
Colour — Red Arms— Two
Symbol - Sun on Lotus
The fourth goddess in the series of Bhumi deities is Prabhakari
whose form is described in the following words :
"Prabhakari rakta visvapadamasthasuryamandaladhara"
MSP, p. 55
"Prabhakari is red in colour and holds in her left hand the disc of
the sun on a lotus*'.
The right hand shows the Vajra or the common symbol. This
goddess is represented in the Chinese collection of Peiping 3.
5. ARCISMATI
Colour — Green Arms — Two
Symbol — Blue Lotus
The fifth goddess in the series of Bhumi deities is called Arcismati
and her form is described in the Nispannayogavali as follows :
"Arcismati marakatavarna mlotpaladhara". NSP, p. 55
1* Clark : TLP, II, p. 123 "~~
I, Clark ; TLP, II, p. 123
3. Ckrk: TLP, II, p. 123
PHILOSOPHICAL DEITIES 335
"Arcismati is of the colour of an emerald and holds in her left
hand the blue lotus".
The right holds the common symbol*
She is not represented in the Chinese collection.
6, SUDURJAYA
Colour — Yellow Arms — Two
Symbol— Emerald
The sixth goddess in the series of Bhumi deities is called Sudurjaya
and her form is described as under :
"Sudurjaya pita utsafigasthottanapanina marakatamanidhara".
" NSP, p. 55
"Sudurjaya is yellow in colour and carries an emerald on her open
palm on the lap"
The right holds the common symbol, the Vajra.
She is not represented in the Chinese collection.
7. ABHIMUKHI
Colour — Yellow Arms — Two
Symbol — Manuscript
The seventh goddess in the series is called Abhimukhi. She is
described as follows :
"Abhimukhi hemavarna padmopari Prajnaparamitapustakadhara''.
NSP, p. 55
"Abhimukhi is of the colour of gold and holds on a lotus the Prajna^
paramita manuscript".
The right hand displays the common symbol.
A statuette of this goddess is found in China !.
8. DURANGAMA
Colour — Green Arms — Two
Symbol — Double Vajra on Double Lotus.
The eighth in the series of Bhumi goddesses is known by the name
of Durafigama and is described as follows :
"Durafigama gaganasyama visvapadmopari visvavajradhara".
NSP, p. 55
77 ClarkTrLP, II, p. 121
336 BUDDHIST ICONOGRAPHY
"Durangama is green like the sky and holds in her left hand the
Visvavajra (double thunderbolt) on a Visvapadma (double conventional
lotus).
The right hand displays the common symbol.
A statuette of this goddess is found in China ] .
9. ACALA
Colour— White Arms — Two
Symbol — Vajra on Lotus
The name of the ninth goddess in the series of Bhumi deities is
Acala whose form is described thus :
"Acala saraccandrabha candrasthapancasucikavajrankitapahkajasya
nalam sagarvam vibhrati", NSP, p. 52
"Acala is of the colour of the moon in autumn, and holds with
pride in her left hand the stalk of a lotus over which is placed the five-
thonged Vajra on the disc of the moon".
The right hand displays the common weapon, the Vajra.
Her statue is found in China 2 .
10. SADHUMATl
Colour — White Arms — Two
Symbol — Sword on Lotus
The tenth deity in the series of Bhumi goddesses is Sadhumatl.
Her form is described thus :
"Sadhumatl sita khadgankitotpaladhara" NSP, p. 55
"Sadhumati is white in colour and holds in her left hand the sword
on a night lotus'*.
The right hand holds the common weapon, the Vajra.
A statuette of this deity is found in China 8.
11. DHARMAMEGHA
Colour — Blue Arms — Two
Symbol — Manuscript
The eleventh goddess in the series of Bhumi deities is Dharma-
megha whose form is described in the following words :
"Dharmamegha dharmameghaparikalita-Prajnaparamitapustakadhara".
NSP, p. 55
1. Clark: TLP, II, p. 118
2. Clark: TLP, II, p. 118
3. Clark: TLP, II, p. 118
PHILOSOPHICAL DEITIES 337
"Dharmamegha holds in her left hand the Prajnaparamita manus-
cript which is composed of the clouds of Dharma".
A statuette of this goddess is found in China l. Fig. 223 illustrates
this Chinese specimen.
1 2 S AMANTAPRABH A
Colour — Red A tms — Two
Symbol — Image of Amitabha
The twelfth and the last in the series of Bhumi goddesses is Samanta-
prabha. Her form is as follows :
"Samantaprabha madhyahnadityavarna padmopari samyaksambo-
dhisucaka-Amitabha-Buddhabimbadhara". NSP, p. 56
"Samantaprabha is of the colour of the sun at noon, and holds in
her left hand the image of Amitabha Buddha which indicates Perfect
Enlightenment".
The right hand displays the common symbol, the Vajra.
A statue of this goddess is found in China -.
(iv) (TWELVE DHARI^JS)
The Dharmadhatuvagisvara Mandala describes another set of interes*
ting deities, twelve in number, called theDharims. InTantric Buddhism,
there is a class of literature which is known by the name of Dharanls,
or Dharinis, and in the Nepal Durbar Library there are collections of
Dharam works called Brhaddharamsangraha *. The Dharanls are
mostly unmeaning strings of words which are required to be kept in
memory, so that they may be repeated at will for the purpose of deve^
loping psychic powers. The Dharanls sometimes reveal traces of a
language now unknown. Several Dharanls are recorded in the Sadhana-
mala 4. Nispannayogavali spells the word somewhat differently as
DharinI and recognizes a group of Twelve Dhannis. In the process of
deification these Dharinis also became deities with form, colour and
symbols. The Dharinis collectively are placed in the family of the
Dhyani Buddha Amoghasiddhi of green colour.
When conceived in the form of deities, the Dharinis are endowed
with one face and two arms. They all hold in their right hand the
double thunderbolt or the Visvavajra, while in the left they carry their
1. Clark: TLP, II, p. 118. ~
2. Clark: TLP, II, p. 118.
3. H. P. Sastri, Nepal Catalogue Vol. II. p. 25 1 ff.
4. Sadhanas, Nos. 21, 23, 41, 116, 147, 150. 216, are all Dharanls.
43
338 BUDDHIST ICONOGRAPHY
own special symbols 1. The form, colour, and special symbols of
all the Dharim deities are given below in the same order as it appears
in the Nispannayogavali under the Mandala of Dharmadhatuvaglsvara.
1. SUM ATI
Colour — Yellow Arms — Two
Symbol — Ears of Corn
The first in the series is Sumati whose form is described below :
"Sumati pita dhanyamanjarldhara". NSP, p. 57
4 'Sumati is yellow in colour and holds in her left hand the ears of
corn"*
The right holds the common symbol, the Visvavajra* She is not
represented in the Chinese collection.
2. RATNOLKA
Colour — Red Arms — Two
Symbol — Cintamani Banner
The second deity in the series of Dharim goddesses is Ratnolka
whose form is described as under :
''Ratnolka rakta Cintamanidhvajadhara'*. NSP, p. 57
tlRatnolka is red in colour and in her left hand she holds the Cinta-
mani banner".
In the right hand she holds the common weapon, the Visvavajra.
She is not represented in the Chinese collection unless some of the
deities like Ratnagni or Ratnarcis is a mistranslation in Sanskrit from
Chinese 2«
3. USNISAVIJAYA
Colour — White Arms — Two
Symbol — Jar of Moonstones.
The third in the series of the Dharim goddesses is Usnisavijaya who
is a popular deity in the Buddhist pantheon, and as such, has already
been described in a previous chapter. As a Dharim goddess, Usnisa-
vijaya is described as :
"Usnisavijaya sita candrakantamani-kalabahasta". NSP, p* 57
"Usnisavijaya is white in colour and holds in her left hand a jar
full of Moonstones".
1. The relevant text is "Dvadasadharinyo dvibhujah savyena visvavajram vibhrana
vameha sagarvam svasvacUmabhrtah. NSP, p. 57
2. Clark : TLP, II, pp. 245, 24o.
PHILOSOPHICAL DEITIES 339
Her right hand displays the Visvavajra, as usual. She is known to
the Chinese collection T .
4. MARl
Colour — Reddish White Arms — Two
Symbols — Needle and String
The fourth deity in the Dharim series of goddesses is Man who is
described in the following words :
"Marl raktagauravarna sasutrasucldhara." NSP, p. 57
"Marl is reddish white in colour and holds in her left hand the
needle with string/'
The right hand holds the common weapon, the Visvavajra. Man is
not represented in the Chinese collection.
5. PARNASABARI
Colour — Green Arms — Two
Symbol — Peacock's Feathers
Parnasabari is the fifth in the list of Dharim deities in the Nispan^
nayogavali, and her form is described therein as follows :
"Parnasabari syama mayurapicchadhara"'. NSP, p. 57
"Parnasabari is green in colour and holds in her left hand the
peacock's feathers/7
The right hand shows the common weapon, the Viivavajra She is
popular in all Buddhist countries and several six-armed forms of her
have already been noted '*. The text of the Dharim is given in the
Sadhanamala l. Parnasabari images are found in Tibet and China <J in
fairly large numbers.
6. jANGULl
Colour — White Arms — Two
Symbol — Flowers
The sixth in the Dharim series of goddesses is the well-known
deity Jahgull whose iconography has been dealt with earlier. As a
Dharim deity her form is as follows :
"Jahgull sukla \dsapuspamanjaridhara." NSP, p. 57
1. Clark: 'ILP, II, p. 286
2. See Supra
3. Sadhana No. 150, p 308.
4. A Tibetan specimen of the six-armed form is illustrated in Gordon : ITL, p. 71 ;
A two-armed form is illustrated in Clark : TLP, II, p. 267, and in the same volume two
six-armed specimens are shown on pp. 207, 287. See also Getly : GNB, pp. 134r 135.
340 BUDDHIST ICONOGRAPHY
"Jafxguli is white in colour and holds in her left hand buds of
poisonous flowers."
Her right hand as usual holds the common weapon, the Visvavajra.
She is represented in the Chinese collection and her statuettes have been
noted }. The text of the Janguli Dharam is given in the Sadhanamala 2.
Jahgull Dharinl is said to be effective against snake poison.
7. ANANTAMUKHI
Colour — Green Arms — Two
Symbol — Jar
The seventh goddess in the series of twelve Dharim deities is Anan*
tamukhl whose form is described in the following words :
"Anantamukhi priyangusyama raktabjasthaksaya*mahanidhikalas*
ahasta". NSP, p. 57
"Anantamukhl is green as the Priyangu flower and holds in her left
hand the jar full of inexhaustive treasures, on the red lotus."
The right hand displays the common symbol, the Visvavajra. She
is not represented in the Chinese collection.
8. CUNDA
Colour — White Arms — Two
Symbol — Rosary with Kamandalu
The eighth deity in the series of twelve Dharim goddesses is the
well-known Cunda whose iconography and antiquity have already been
dealt with in detail in an earlier chapter. As a Dharini goddess her form
is described in the following words :
''Cunda sukla aksasutravalarnbitakamandaludhara''.
NSP, p. 57
"Cunda is white in colour and holds the rosary from which a
Kamandalu is suspended "
The right hand as usual shows the common weapon, the Visvavajra.
Cunda is popular in the Chinese collection, and several of her statue-
ttes are found there 3. Cunda is also popular in Tibet *.
1. Clark: TLP, II, pp. 204, 217
2. SadhanaNo. 118, p. 247
3. Clark; TLP. II. pp. 222, 283, 284
4. The Cunda image in the collection of the late W. B. Whitney is illustrated in
Gordon : ITL, pp« 74. It is a four'armed image. See also Getty : GNB, pp. 129, 130
PHILOSOPHICAL DEITIES 341
9. PRAJNAVARDHANl
Colour — White Arm s — Two
Symbol — Sword
The ninth in the series of twelve Dharim goddesses is Prajnavardha-
ni whose form is described in the following text :
"Prajnavardham sita nllotpalakhadgadhara". NSP, p. 57
"Prajnavardham is white in colour and holds in her left hand
the sword on a blue lotus".
The right hand as usual displays the common weapon, the
Visvavajra.
She is not represented in the Chinese collection.
10. SARVAKARMAVARANAVISODHANI
Colour — Green Arms — Two
Symbol — Vajra
The tenth in the series of twelve Dharim goddesses is Sarvakarma^
varanavisodhani whose form is described in the following words :
"Sarvakarmavaranavisodham harita trisucikavajrahka*sitakamala~
dhara". " NSP, p. 57
"Sarvakarmavaranavisodhani is green in colour and holds in her
left hand the Vajra with three thongs on a lotus' '.
The right hand displays the common weapon, the Visvavajra. She
is not represented in the Chinese collection.
11. AKSAYAJNANAKARANDA
Colour — Red Arms— Two
Symbol — Basket
The eleventh deity in the series of twelve Dharim goddesses is Aksa-
yajnanakaranda, whose form is described in the following words :
"Aksayajnanakaranda rakta ratnakarandadhara." NSP, p. 57
"Aksayajnanakaranda is of red colour and holds in her left hand
the basket full of jewels.*'
The right displays as usual the common weapon, the Visvavajra. She
is not represented in the Chinese collection.
342 BUDDHIST ICONOGRAPHY
12. SARVABUDDHADHARMA-KOSAVATI
Colour — Yellow Arms — Two
Symbol — Trunk
The twelfth and the last deity in the series of twelve Dharim goddes-
ses is Sarvabuddhadharma-KosavatI whose form is described in the
following text :
"Sarvabuddhadharmakosavatiplta padmasthananaratnapetakadhara/'
NSP, p. 57
''Sarvabuddhadharma-Kosavati is yellow in colour and holds in
her left hand the trunk full of various kinds of jewels on a lotus".
The right hand displays the common weapon, the Visvavajra* She is
not represented in the Chinese collection.
(V) FOUR PRATISAMVITS
In Buddhism Four Pratisamvits are acknowledged as the branches of
logical analysis, and these are named as Dharma (nature), Artha (ana-
lysis), Nirukti (etymological analysis) and Pratibhana (context). These
abstract ideas also received the attention of the Vajra>anists and were
duly deified with human form, colour, weapon, and symbols. In a
deified form these four Pratisamvits are found described in the Dharma-
dhatuvagisvara Mandala of the Nispannayogavali. These are described
below with necessary details in the same order in which they appear
in the Mandala.
1. DHARMA PRATISAMVIT
Colour — Whitish Red Arms — Two
Symbol — Goad and Noose
The first in the series of Pratisamvit deities is Dharma Pratisamvit
whose form is described in the text as follows :
1 Turvadvare Dharma-Pratisamvit sitarakta vajrankusapasabhrd-
bhujadvaya". NSP, p. 5?'
"On the Eastern gate there is Dharma Pratisamvit of whitish red
colour, holding in her two hands the goad and the noose marked with
the thunderbolt".
A statue of this obscure Buddhist deity is found in the Chinese
collection l.
1. Clark: TLP, II, p. 134.
PHILOSOPHICAL DEITIES 343
2. ARTHA PRATISAMVIT
Colour— Green Arms — Two
Symbol — Noose
The second goddess in the series of four Pratisamvit deities is Artha
Pratisamvit whose form is described thus in the text :
"Daksine Arthapratisamvit marakatavarna savyetarabhujabhyarh
ratnapasabhrt". NSP, p. 57
"In the South, there is Artha Pratisamvit of the colour of an
emerald and holding in her two hands the jewel and the noose.
A statuette of this obscure deity is found in the Chinese collec-
tion ].
3. N1RUKTI PRATISAMVIT
Colour — Red Arms — Two
Symbol — Chain
The third in the series of four goddesses of the Pratisamvit group
is Nirukti Pratisamvit whose form is described in the text as follows :
"Pascime Nirukti'Pratisamvit rakta haddhapadmantasrfikhala-
bhrdbhuiadvaya". NSP, p. 58
"In the West there is Nirkuti Pratitamvit of red colour, holding in
her two hands the chain from which a lotus is suspended".
A statuette of this obscure deity is found in the Chinese collection
of Peipmg 2. Fig. 224 illustrates this Chinese specimen.
4. PRATIBHANA PRATISAMVIT
Colour — Green Arms — Two
Symbol— Bell
The fourth and the last goddess in the series of Four Pratisarhvit
deities of the Buddhist pantheon is described in the Dharmadhatuva*
gisvara Mandala in the following words :
*'Uttare Pratibhanapratisarhvit marakatasyama trisucikavajrahkita-
ghantavyagrakaradva>a". NSP, p, 58
"On the North there is Pratibhana Pratisamvit of the colour of an
emerald (green), holding in her two hands a bell marked with a Vajra
with three thongs"
A statuette of this extremely obscure deity is found in the Chinese
collection at Peiping \ Fig. 225 illustrates this Chinese statuette.
1. Clark: TLP, II, p 134
2. Clark : TLP, II, p. 134
3. Clark : TLP, II, p. 135
CHAPTER XIII
HINDU GODS IN VAJRAYANA
It is not a fact that Hindu gods were unknown in the Buddhist
pantheon or that the Buddhist pantheon wholly consisted of Buddhist
gods. It is already well-known that several Hindu gods especially
Sarasvatl and Ganapati were given independent forms as principal
gods in the Sadhanas, besides a large number as companion
deities or as Vahanas or vehicles of important Buddhist deities.
They were also given humiliating roles to be trampled upon by
angry Buddhist gods. A perusal of the Nispannayogavali and
especially the Dharmadhatuvagisvara Mandala will show what a
large number of Hindu deities was incorporated in the Mandala, and
how this large number was tackled intelligently and fitted into the
scheme of the Buddhist Mandalas. How these Hindu gods were
classified and how directions and colours were assigned to them, and
how they were put under a Dhyani Buddha family, represent a study
interesting to the extreme. It is necessary to make a brief reference to
this aspect of Buddhist Iconography. That these Hindu deities were
fully converted to Buddhist Faith is also evidenced by the fact that a
large number of their statuettes is actually found in the purely
Buddhist atmosphere of China in the Chinese collection of statuettes
at Peiping. The collection although exists in China, its spirit is per-
fectly Indian, as image after image follows the description given either
in the Nispannayogavall or in the Sadhanamala.
Several series of Hindu gods are found in the Buddhist pantheon
and they are described below under appropriate heads with relevant
quotations.
Amongst the Hindu deities incorporated into the Buddhist pantheon,
three deities appear to be of great importance. These are Mahakala
the prototype of Siva Mahadeva with the Trisula as the recognition
symbol, Ganapati the elephant-faced god, and Sarasvatl the Goddess of
Learning with her characteristic Vina. Separate Sadhanas are assigned
to all of them, and even independent shrines for them are not wanting
in the Buddhist countries of the North.
1. MAHAKALA
In the Sadhanamala as well as in the Nispannayogavall there are
several descriptions of the ferocious Hindu god, Mahakala. He has
HINDU GODS IN VAJRAYANA 345
been given a variety of forms in these two works. He may have one
face with two, four or six arms, or eight faces with sixteen aims. He
is one of the many terrible deities of the Buddhist pantheon with
ornaments of snakes, canine teeth, protruding belly and garment of
tiger-skin. The different forms of Mahakala are described belou .
(I) TWO-ARMED
Colour — Blue Arms — Two
Symbols — Kartri and Kapala
At least six Sadhanas in the Sadhanamala describe the two-armed
variety of Mahakala. One among them is quoted here.
"Srl-Mahakalabhattarakam dvibhujarh ekamukhfeih kr&navarnam
trinayanam mahajjvalam kartrikapaladharinam daksinavamabhujabh^am
mundamalalahkrtorddhvapingalakesopari pancakapaladharorh damstra-
bhimabhayanakam bhujahgabharanayajnopavitarh kharvaruparh srava*
drudhiramukharh atmanam jhatiti mspadya.. ". Sadhanamala, p. 585.
"The worshipper should conceive himself as Sri Mahakala Bhattara-
ka who is two-armed and one-faced and has blue colour. He is three-
eyed, has fiery radiance, and carries the Kartri and the Kapala in his
right and left hands respecti vely. He bears five skulls on his brown
hair which rises up on his head and is decorated with a chain of severed
heads. He looks terrible with bare fangs, and is decked in ornaments
of serpents and a sacred thread made out of a snake. He is short and
from his mouth trickles forth blood. Thus quickly meditating...".
Instead of the Kartri, Mahakala carries the Trisula in his right
hand in some cases. Images of Mahakala abound in Nepal and are found
in large numbers in Buddhist temples, monasteries and even in the
streets. Sometimes the head only is represented. Fig. 226 illustrates one
of the finest specimens of Mahakala beloniug to the collection of
Pandit Siddhiharsa Vajracarya of Nepal. Here the god tramples upon
two figures representing two human corpses as required by the Sadhana.
He weilds the menacing Kartri in the right hand and the Kapala full of
blood in the left. Images of Mahakala are also found in abundance in
Tibet ' and China *.
1. Gordon: 1TL, p. 90 in which four images of Mahakala are represented. See
also Getty : GNB, PL XLIX where four more illustrations are available.
2. Clark : TLP, II, pp. 101, 299, 301 and 75
44
346 BUDDHIST ICONOGRAPHY
(II) FOUR-ARMED
Colour — Blue Arms — Four
Symbols — Kartri and Kapala, Sword and Khatvahga
When four-armed he resembles the two-armed one in all details
except in the number of arms and the symbols he displays in his
hands* Here he carries the Kartri and the Kapala in the first or the prin-
cipal pair of hands, and the sword and the Khatvanga in the second pair.
(III) SIX-ARMED
Colour — Blue Arms — Six
Symbols — r. Kartri, Rosary, Damaru
1. Kapala, Sula, Vajrapasa
When six-armed the form of Mahakala resembles the two-armed
variety already described, with the difference that here he has six arms
carrying six different symbols. In his six hands he exhibits the Kartri,
the rosary and the Damaru in the right and the Kapala, the Sula and
the Vajrapasa in the left.
(IV) SIXTEEN-ARMED
Colour — Blue Arms — Sixteen
Faces — Eight Legs — Four
When sixteen-armed, he is eight-faced and is represented in yab-yum
in the embrace of his Sakti, and what is really strange, he is also four-
legged. The Sadhana describes his form in the following words :
"Atmanam Bhagavantam sodasabhuja-Mahakalam bhavayet ; asta-
vadanam caturvimsatinetram catuscarnam sodasabhujam ; daksinakaraih
kartri-vajra-gajacarma-mudgara-trisula-khadga-yamadandah, vamakaraih
raktapurnakapala-gajacarma-ghanta-ahkusa-svetacamara-damaru-narasiro
dadhanam sesabhujabhyarh Prajnalingitam ; kharvakrsnam hahahihi*
hehepuritamukham maharaudrarh trikayatmakam panca-Buddhamu-
kutinam naramundamalabharanam bhayasyapi bhayankaram",
Sadhanamala, p. 598
"The worshipper should conceive himself as sixteen-armed Maha-
kala with eight faces, twenty-four eyes, four legs, and sixteen arms.
He carries in his (seven) right hands the Kartri, the Vajra, the elephant-
hide, the Mudgara, the Trisula, the sword and the staff of Yama, and in
the (seven) left hands the Kapala full of blood, elephant-hide, the bell,
HINDU GODS IN VAJRAYANA 347
the goad, the white chowrie, the Damaru and the human head. The
two remaining hands are engaged in embracing the Prajna. He is short
and blue in complexion, utters laughing sounds, such as ha ha, hi hi,
he he, and looks terribly tierce. He is the essence of the Three Kayas,
bears the images of the five Dhyani Buddhas on his crown, is decked
in garlands of heads as ornaments, and is more awe-inspiring than Awe
itself."
The Sadhana further adds that Mahakala should be surrounded by
seven goddesses, three in the three cardinal points, (the fourth being
occupied by his own bakti) and the other four in the four corners.
To the East is Mahamaya, consort of Mahesvara, who stands in the
Alidha attitude and rides a lion. She has four arms, of which the two
left hands carry the Kapala and the Damaru, and the two right the Kartri
and the Mudgara. She is blue in complexion, has dishevelled hair,
three eyes and protruding teeth.
To the South is Yamaduti, who is of blue complexion and has four
arms. She carries in her two right hands the staff of lotus stalk and
the Kartri. and in her two left the bowl of blood and the fly^whisk. She
stands in the Alidha attitude on a buffalo and has dishevelled hair.
To the West is Kaladuti, who carries in her two left hands the
Kapala and the Cow's head and in the two right the Mudgara and the
Trisula. She stands in the Alidha attitude on a horse, has red com-
plexion and dishevelled hair.
All these deities are terrible in appearance, with protruding teeth
and ornaments of serpents.
The four corners are occupied by the following goddesses. Kalika
in the SE corner is blue in complexion, has two arms carrying the
Kapala and the Kartri, and stands on a corpse in the Alidha attitude.
Carcika in the SW corner has red complexion, carries the Kartri and
the Kapala in her two hands and resembles Kalika in all other respects.
Candesvan in the NW corner has yellow complexion, carries in her
two hands the grass and the deer, and stands in the Alidha attitude on a
corpse. Kulisesvarl in the NE corner has white complexion, carries
the Vajra and the staff, stands in the Alidha attitude on a corpse. These
four deities are nude, and look terrible with bare fangs, three eyes and
dishevelled hair.
Surrounded by all these deities Mahakala should be meditated upon
as trampling upon Vajrabhairava in the form of a corpse.
Mahakala is a ferocious god who is generally worshipped in the
Tantric rite of Marana and for the destruction of enemies, Mahakala
was also regarded as a terrible spirit, and was calculated to inspire awe in
348 BUDDHIST ICONOGRAPHY
the minds of those Buddhists, who were not reverential to their Gurus,
and did not care much for the Three Jewels. He is supposed to eat these
culprits raw, and the process of eating has been minutely described in
almost all the Sadhanas. The Sadhanas generally contain the following
verses in order to show the terrible nature of Mahakala t
Acaryye yah sada dvesi kupito Ratnatrayepi yah 1
Anekasattvavidhvamsl Mahakalena khadyate II
Cchedayet svangamamsani pivedrudhiradharaya I
Sirasi vinivesyaiva tilamatranca karayet II
Sadhanamala, p. 586
uHe who hates his preceptor, is adversely disposed to the Three
Jewels, and destroys many animals is eaten up raw by Mahakala.
He, (Mahakala) cuts his flesh to pieces, drinks his blood, and (after)
entering into his head breaks it into small bits."
2. GANAPATI
Colour — Red Arms — Twelve
Vahana — Mouse
Asana — Dancing in Ardhaparyahka
Only one Sadhana in the Sadhanamala describes the form of Gana*
pati. He is twelve-armed and one-faced and rides his favourite Vahana,
the Mouse. The Dhyana describes him in the following terms :
"Bhaga van tarn Ganapatirh raktavarnam jatamukutakirltinam sarva-
bharanabhusitam dvadasabhujam lambodaraikavadanam ardhaparyanka-
tandavam trinetram api ekadantam savyabhujesu kuthara-sara-ahkusa-
vajra-khadga-sulanca ; vamabhujesu musala-capa-khatvahga asrkkapala'
phatkanca raktapadme musikopari sthitam iti1'
Sadhanamala, pp. 592-593
"The worshipper should concieve himself as god Ganapati of red
complexion, bearing the Jatamukuta, decked in all ornaments, having
twelve arms, a protruding belly and one face. He stands in the Ardha-
paryahka in a dancing attitude, is three-eyed and has one tusk He
carries in his right hands the Kuthara, the arrow, the goad, the Vajra,
the sword and the Sula, and in his left the Musala, the bow, the Khat*
vahga, the Kapala full of blood, the Kapala of dried meat and the
Phatka. He rides the mouse on a red lotus."
Fig. 227 is an Indian image of the four-armed Ganapati which is
described later in this chapter. This image is in the possession of
Dr. Moghe of Khar, Bombay. Fig. 228 is another image with twelve
HINDU GODS IN VAJRAYANA 349
arms in the possession of the Dowager Maharani Chimanabai Gaekwad
of Baroda. Both the pieces are Buddhist in character.
Ganapati images are also noticed in China l and in painted banners
of Tibet.
3. GANAPATIHRDAYA
Asana — Dancing Arms — Two
Mudras — Abhaya and Varada
Like Ganapati himself Ganapatihrdaya who is in all probability is his
Sakti or female counterpart, cannot be easily assigned to any particular
Dhyani Buddha. Her form is described in the Dharmakosasangraha of
Amrtananda in the following words :
"Ganapatihrdaya ekamukha dvibhuja varada abhaya nrtyasana".
Dharmakosasangraha, Fol. 43
"Ganapatihrdaya is one-faced, two-armed, exhibits in her two hands
the Varada and Abhaya poses, and shows the dancing attitude ".
Fig. 229 illustrates a miniature in the possession of Dr. W. Y. Evans^
Wentz.
4. SARASVATl
Sarasvati is the name of an ancient river now filled up by the sands
of Rajputana on the banks of which the Vedic Aryans originally settled
after their migration to India. As the banks of the river were occupied
by the Vedic Aryans who composed many hymns, and were the scene of
many sacrifices, the river was, later on, in the Pauranic age deified as the
the Goddess of Learning. The Buddhists borrowed this Hindu goddess,
incorporated her bodily into their pantheon in the Tantric age when she
was equally popular with the Hindus and the Buddhists, and modified
her form in various ways. The Buddhist Sarasvati may have one face
with two arms, or three faces and six arms. When two-armed, she has
four different variations. As her worship is widely prevalent among the
Buddhists owing to the belief that like Manjusri and Pro jnaparamita, she
confers wisdom, learning, intelligence, memory, etc. a comparatively
large number of Sadhanas is assigned to her in the Sadhanamala.
(I) MAHASARASVATl
Symbols — r. Varada Mudra ; 1. Lotus.
Colour— White
She has white complexion, shows the Varada pose in the right hand
1. Clark: TLP, II, p. 153
350 BUDDHIST ICONOGRAPHY
and carries the white lotus in the left. The Dhyana describes her form
in the following terms :
" Bhagavatlm Mahasarasvatlm anuvicintay et saradindukarakaram
sitakamalopari candramandalastham ; daksinakarena varadam, vamena
sanalasitasarojadharam smeramukhlm atikarunamayam svetacandanaku*
sumavasanadharath muktaharopasobhitahrdayam nanaratnalankaravatlih
dvadasavarsakrtim muditakucamukuladanturorastatlm sphuradanantaga-
bhastivyuhavabhasitalokatrayam.'' Sadhanamala, p. 329
"The worshipper should think himself as goddess Mahasarasvati,
who is resplendent like the autumn moon, rests on the moon over the
white lotus, shows the Varada mudra in her right hand, and carries in the
left the white lotus with its stem. She "has a smiling countenance, is
extremely compassionate, wears garments decorated with white sandal
flowers. Her bosom is decorated with the pearl-necklace, and she is
decked in many ornaments ; she appears a maiden of twelve years, and
her bosom is uneven with half-developed breasts like flower-buds ;
she illumines the three worlds with the immeasurable light that radiates
from her body."
This is the general appearance of Sarasvati, and all the other varieties,
unless otherwise stated, are identical in appearance with the one just
described. The distinctive feature of this goddess Mahasarasvati is that
she shows like the ordinary Taras the Varada mudra in the right hand
and carries the lotus in the left (Fig. 230), and is surrounded by four
deities identical in form with herself Prajna is in front of her, Medha
to her right, Smrti to her left, and Mati in the west. These four divi-
nities may also accompany other varieties of Sarasvati. As the Sadhana
is silent about the particular Asana, she may be represented in any
attitude, sitting or standing.
Sarasvati is a popular goddess both in Tibet 1 and China - where she
is widely represented.
(II) VAJRAVINA SARASVATI
Colour— White Symbol— Vina
Vajravlna Sarasvati like Mahasarasvati is also white in complexion,
peaceful and benign in appearance. She is also two*armed but the dis-
tinguishing feature in her case is that she carries in her two hands the
Vina, a kind of stringed musical instrument, and plays upon it. She
1. Gordon, ITL, pp. 72, 88 ; Getty : GNB, pp. 127, 128
2. Clark : TLP, II, pp. 173, 181
HINDU GODS IN VAJRAYANA 351
may also be represented as accompanied by the four divinities as in the
previous case.
Fig, 231 illustrates her statuette at Peiping.
(iii) VAJRA£ARADA
Symbol — r. Lotus ; 1. Book
According to the Dhyana in the Sadhanamala she rests upon a pure
white lotus, and a crescent decorates her crown ; she is three-eyed and
two-armed and carries the book in the left hand and the lotus in the
right. The accompanying illustration (Fig. 232) shows how she is pictur^
ed by Nepalese artists. She may, however, be accompanied by the four
attendants, Prajna and others. As the Sadhana is silent about the
Asana, she may have any attitude. The Nalanda image (Fig. 233) which
has been identified as Kotisri (?) is probably a stone representation
of this goddess. Vajrasarada here sits in Bhadrasana, as do her compa-
nions. All the figures in the group are mutilated, but at least one
among them carries the Utpala and the book, in the right and left
hands respectively.
(iv) ARYASARASVATI
Symbol — Prajnaparamita on Lotus
Arya Sarasvati is another variation of Sarasvati, and is also desig-
nated Vajrasarasvati, which seems to be the common name of Saras*
vatl of the Vajrayanists. She appears a maiden of sixteen, is in
the prime of youth, has white complexion, and carries in the left hand
the stalk of a lotus on which rests the Prajnaparamiia Book. The
Dhyana is silent about the symbol carried in the right hand, which may
or may not remain empty. The Asana also is not mentioned which
shows that she may be represented in any attitude.
Fig. 234 illustrates a Nepalese drawing of Arya-Sarasvatl.
iV) VAJRASARASVATI
Faces— Three Arms— Six
Asana — Pratyalldha
The name Vajrasarasvati is given to this goddess in order to distin-
guish her from the other four varieties of Sarasvati, with four different
names given in the Sadhanas. It has already been said that Sarasvati
has a form with three faces and six arms. In all other respects her form
is identical with that of Mahasarasvati. The difference here is that her
hair is brown and rises upwards, and she stands in the Pratyalldha
352 BUDDHIST ICONOGRAPHY
attitude on the red lotus. Three Sadhanas in the Sadhanamala are
assigned to her worship, and according to these, she is red in colour,
with the right and left faces of blue and white colour respectively*
She carries in her three right hands the lotus on which is the Prajna-
paramita Book, the sword and the Kartri, and in the three left the
Kapala of Brahma, the jewel and the Cakra. Instead of the book on
lotus and Brahmakapala she may also hold the lotus and the Kapala only.
Fig 235 illustrates a Nepalese drawing belonging to the latter
variety.
5. THE EIGHT DIKPALAS
The eight Dikpalas or the Lords of the Eight Quarters are described
in the Dharmadhatuvagisvara Mandala and other places in the Nispan*
nayogavall. They are the Lords or rather the embodiments of the four
principal directions and the four intermediate corners, and resemble the
Yamantaka group of deities of the Buddhists. Their forms are described
below in the same order as they appear in the Dharmadhatuvagisvara
Mandala. Here only one typical form is given, although there are
many more, even with their female counterparts.
(I) 1NDRA
Colour — Yellow Arms — Two
Vehicle — Elephant Direction — East
The first in the series of Eight Hindu gods of direction is Indra
who presides over the Eastern quarter. His form is described as
follows :
"Airavatarudhah Indrah pito vajram stanam ca dadhanah."
NSP, p. 61
"Indra (of the east) rides on the Airavata elephant and is yellow in
colour. He holds in his two hands the Vajra and the breast of a
woman."
Under the name of Sakra he appears in the Chinese collection ] .
Fig. 236 illustrates his Peiping image.
(II) YAMA
Colour — Blue Arms — Two
Vehicle — Buffalo Direction — South
The second in the series of eight deities of direction is called Yama
here as well as in Hindu scriptures. Yama is described in the following
words :
"Yamyarh Mahise Yamah krsno yamadandasulabhrt."
" NSP, p. 61
1. Clark : TLP, II, pp. 89, 178
353
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HINDU GODS IN VAJRAYANA 361
"In the south, there is Yama riding on a Buffalo. He is blue in
colour and holds in his two hands the staff of death and the Sula".
Yama, the God of Death is fairly popular in Tibet where his images
are found l .
(III) VARUNA
Colour — White Arms — Two
Vehicle — Crocodile Direction— West
The third in the series of gods of direction is Varuna whose form is
described in the text as follows :
"Varune makare Varunah svetah saptaphano nagapasasankhabhrt."
NSP, p. 61
"In the west there is Varuna riding on a Crocodile. He is white in
colour and has seven hoods. He holds in his two hands the noose of
snake and the conch".
His statuettes occur in the Chinese collection under the title of
Varuna (deva) 2.
(IV) KUBERA
Colour — Yellow Arms — Two
Vehicle—Man Direction— North
The fourth deity in this series is Kubera of the North and his form
is described in the text as follows :
"Kauberyarii nare Kuberah supltonkusagadadharah."
NSP, p. 61
"In the north, there is Kubera riding on a man. He is of deep
yellow colour and holds in his two hands the goad and the Gada
(mace)",
Kubera is fairly well represented in Tibet b.
(V) 1SANA
Colour — White Arms— Two
Vehicle — Bull Direction — Isana
The fifth in the series of gods of direction is Isana the Lord of the
Isana corner, and his form is described in the following words :
Aisanyam Vrsabharudhah Isanah trisulakapalapanih jatardhacandra-
dharah sarpayajnopaviti nllakanthah." NSP, p. 61
1. See for instance Gordon : 1TL, p. 90 ; also Getty : GNB, PL XLVII, a and b.
2. Clark : TLP, II, pp. 98, 178
3. See for instance Gordon : 1TL, p. 90 also Getty : GNB, plate LII, b
46
362 BUDDHIST ICONOGRAPHY
"In the Isana corner there is isana riding on a Bull. He is white in
colour and holds in his two hands the Trisula (trident) and the Kapala
(skull'cup). On his matted hair appears the half-moon, on his body
a sacred thread of serpent and his throat is blue/'
As isana he is not represented in the Chinese collection.
(VI) AGNI
Colour — Red Arms — Two
Vehicle— Goat Direction — Agni
The sixth in the series of direction gods is Agni the Lord of the
Agni corner. His form is described thus :
"Agneyyam Cchage'gnih raktah sruvakamandaludharah."
NSP, p. 61
"In the Agni corner there is Agni riding on a Goat. He is red in
colour and holds in his two hands the Sruva (ladle) and the Kamandalu
(water bowl)."
As Agnideva his forms occur twice in the Chinese collection l.
Fig, 237 illustrates one of the two statuettes from Peiping.
(VII) NAIRRTI
Colour — Blue Arms — Two
Vehicle—Corpse Direction — Nairrta corner
The seventh direction god is called by the name of Nairrti who
presides over the Nairrta corner. His form is described in the text as
follows :
"Nairrtyarh Raksasadhipo Nairrtih mlah save khadgakhetakabhrt."
NSP,' p. 61
"In the Nairrta corner there is the Lord of the Raksasas (goblins)
called Nairrti who is blue in colour and rides on a corpse. In his two
hands he holds the sword and the Khetaka (stick)".
He is not represented in the Chinese collection.
(VIII) VAYU
Colour — Blue Arms — Two
Vehicle— Deer Direction— Vayu.
The eighth and the last deity in the series of direction gods is called
Vayu the Lord of the Vayu corner. His form is described thus :
"Vayavyam mrge Vayurmlo vataputadharah". NSP, p. 61
1. Clark :TLP, II, pp. 87, 65 ~
HINDU GODS IN VAJRAYANA 363
"In the Vayu corner there is Vayu riding on a Deer and blue in
colour. In his two hands he shows the Vataputa" (empty fold).
Under Vayudeva his statuette occurs in the Chinese collection l.
Fig. 238 illustrates this image.
6. TEN PRINCIPAL HINDU DEITIES
In the Brahma group there are ten deities. They are popular in
India and their statuettes occur in the Chinese collection. Their
appearance in the Buddhist pantheon is almost the same as we find
them described in the Puranas and Tantric works of the Hindus. The
gods of the Brahma group are described with typical examples in the
same order as they appear in the Dharmadhatuvagisvara Mandala of
the Nispannayogavali.
(I) BRAHMA
Colour — Yellow Arms — Four
Vehicle— Swan
The first among the ten gods of this list is Brahma. His form is
given in the following text :
"Harhse Brahma pitascaturbhujah aksasutrabjabhrt~savyetarabhyam
krtanjalir-danda-kamandaludharah". NSP, p. 61
"On a Swan appears Brahma of yellow colour with four arms.
With the two principal hands carrying the rosary and the lotus, he
displays the Anjah (clasped hand) mudra, and the two other hands
carry the staff and the Kamandalu'*.
Three statuettes of his occur in the Chinese collection L\ Fig. 238
illustrates one of the three.
(II) VISNU
Arms— Four Vehicle— Garuda
The second god in this series of ten principal gods of the Hindu
pantheon is called Visnu. His form is described as under :
"Garude Visnus-caturbhujah cakrasankhabhrtsavyavamabhyam
murdhni krtanjalir-gadasarngadharah". NSP, p. 61
"On a Garuda there is Visnu with four arms. With the two prin*
cipal hands carrying the Cakra and the Sahkha he displays the Anjali
on his head. With the two others he holds the Gada (mace) and the
bow".
Two statuettes of Visnu occur in the Chinese collection 3.
1. Clark : TLP, II, p. 181
2. Clark : TLP, II, pp. 100, 156, 179
3. Clark : TLP, II, pp. 98, 156.
364 BUDDHIST ICONOGRAPHY
(III) MAHESVARA
Colour — White Arms — Four
Vehicle-Bull
The third in this series of ten principal gods of the Hindus is
Mahesvara. His form is described thus :
"Vrsabhe Mahesvarah sitah sasikanakankitajatamukutas-catur
bhujah sirasi krtanjalis-trisulakapalabhrt". NSP, p. 62
"Mahesvara sits on the Bull, and is white in colour. His crown of
matted hair is beautified by the moon. He is four-armed. With the two
principal hands he displays the Anjali over the head, and with the two
others he carries the Trisula and the Kapala".
One statuette of Mahesvara occurs in the Chinese collection ].
It is illustrated in Fig. 240.
(IV) KARTTIKEYA
Colour — Red Arms — Six
Symbol — Hen Vehicle — Peacock
The fourth god in this series is Karttikeya and his form is des*
cribed as follows :
"Mayure Karttikeyo raktah sanmukhah savyabhyam saktim vajram
ca vamabhyarh kukkutam ca dadhano dvabhyam krtanjalih,"
NSP, p. 62
* 'Karttikeya rides a Peacock, is red in colour, and has six faces.
With the two right hands he holds the Sakti (javelin) and the Vajra
and with the two left the hen. With two others he shows the Anjali".
One statuette of this deity is found in the Chinese collection 2.
(V) VARAHI
Colour — Blue Arms — Four
Symbol — Fish Vehicle — Owl
The fifth deity in this series is a goddess and is called here as Varahl.
Her form is described as follows :
"Varahl krsna pecakarudha caturbhuja savyavamabhyam rohita-
matsyakapaladhara dvabhyam krtanjalih". NSP, p. 62
" Varahl is blue in colour. She rides on an Owl and is four'armed.
In one pair of hands she shows the Rohita fish in the right and the
Kapala in the left. Two others are clasped in Anjali".
Two statuettes of the deity are represented in the Chinese collec-
tion *,
1. Clark : TLP, II, p. 156
2. Clark: TLP, II, p. 157
3. Clark : TLP, II, pp. 72, 176
HINDU GODS IN VAJRAYANA 365
(VI) CAMUNDA
Colour — Red Arms — Four
Veh icle — Corpse
The sixth deity in the series of Hindu gods is also a goddess and is
known by the name of Camunda. Her form is described as follows :
"Pretopari Camunda rakca caturbhuja kartrikapalabhrtsavyetara
krtSnjali". NSP, p. 62
"Camunda rides on a corpse and is of red colour. She is four-
armed. With the first pair of hands she holds the Kartri in the right
and the Kapala in the left. In the second she exhibits the Anjali".
One statuette of this goddess occurs in the Chinese collection *,
(VII) BHRNGI
Colour — Blue Arms — Four
The seventh deity in this series is Bhrhgi whose form is described
in the Dharmadhatuvagisvara Mandala as follows :
"Bhrhgi krsriah krsnaksasutrakamandaludharah krtanjalih".
NSP, p. 62
"Bhrhgi is blue in colour and he holds in the first pair of hands
the blue rosary and the Kamandalu. In the second pair the Anjali is
shown'*.
Bhrhgi is not represented in the Chinese collection.
(VIII) GANAPATI
Colour — White Arms — Four
Symbol — Elephant-face Vehicle — Rat
Ganapati is a popular deity in the Buddhist pantheon. He is des-
cribed several times in the Nispannayogavall, and as already stated an
independent Sadhana in the Sadhanamala is devoted to his worship.
In the Mandala of Dharmadhatuvagisvara his description is as follows :
Musake Ganapatih sitah karivaktrah sarpayajnopaviti caturbhujah
savyabhyam trisulaladdukau vamabhyam parasumulake dadhanah.
NSP, p". 62
"Ganapati rides on a Mouse and is white in colour. He has an
elephant face and a snake forms his sacred thread. He is four-armed.
In the two right hands he carries the' Trisula and the Ladduka (sweet
balls), and in the two left the Parasu (axe) and the Mulaka (radish).
U Cla^kl TLP, IT, p. 176 "
366 BUDDHIST ICONOGRAPHY
In the Bhutadamara Mandala, he is given four hands carrying the
Mulaka and the Parasu in the two right, and the Trisula and the
Kapala in the two left J .
One statuette of his is recorded in the Chinese collection 2. It is
illustrated in Fig. 241-
(IX) MAHAKALA
Colour — Blue Arms — Two
Symbol — Trident
The ninth in this series of Hindu deities in the Buddhist
pantheon is called Mahakala who is popular both in the Sadhanamala
as well as in the Nispannayogavall. His form is described as follows :
"Mahakalah krsnas-trisula-kapalabhrt". NSP, p. 62
" Mahakala is blue in colour and carries the Trisula and the Kapala
in his two hands".
One statuette of his occurs in the Chinese collection3. His des-
cription in the Sadhanamala is more detailed. The different forms of
Mahakala have already been discussed in an earlier section in this very
chapter.
(X) NANDIKE£VARA
Colour — Blue Arms — Two
Symbol — Muraja Vehicle — Muraja
The tenth and the last in this series of Hindu gods is called Nandi-
kesvara. His form is described thus in the Mandala of Dharmadhatu-
vagisvara :
"Nandikesvarah krsnah Murajarudho Murajavadanaparah".
NSP, p. 62
"Nandikesvara is blue in colour and sits on a Muraja drum and is
engaged in playing on the Muraja".
Two statuettes of this deity occur in the Chinese collection under
the title Nandisvara (deva) which is the same as Nandikesvara *.
_____
2. Clark : TLP> II, p. 153
3* Clark : TIP, II, p. 101
4. Clark :TLP, II, pp. 104, 153
HINDU GODS IN VAJRAYANA 367
7. NINE PLANETS
From time immemorial people in India believed in the power of
the planets either for evil or for good. That belief is still current. The
Hindus, Buddhists and Jainas alike shared in this belief, and in all these
three religious systems the planets were deified and they were given a
form, weapon and colour. To compare the forms of the different
planets in the three religious systems is itself an independent and
stupendous study. It is not the purpose here to compare their forms,
nor even to study their iconography extensively, but a passing and
brief reference to the planets is what can and should be given. As the
planets were deified in Buddhism also, their forms are stated below in
the same order and in the same manner as they appear in the Mandala of
Dharmadhatuvagisvara of the Nispannayogavall*
(i) ADITYA
Colour— Red Arms— Two
Symbol — Discs 6f the Sun
Vehicle— Chariot of Seven Horses
Aditya or the Sun-god heads the list of the Nine Planets, and his
form is described in the Nispannayogavall as follows :
"Saptaturagarathe Adityo rakto daksinahastena vamena ca padmas-
tha-suryamandaladharah". NSP, p. 62
"Aditya rides on a chariot drawn by seven horses. He is red in
colour. Both in the right and in the left he holds the discs of the sun
on lotuses".
In the Chinese collection, one statuette of this planet occurs under
the title of Surya *.
(II) CANDRA
Colour— White Arms— Two
Symbol— Discs of the Moon Vehicle— Swan
The second planet in this series is Candra or the Moon-god who is
described thus in the text :
"Hamse Candrah subhrah savyahastena vamena ca kumudastha-
candramandalabhyt". NSP, p. 62
"Candra rides on a Swan, is white in colour and holds in his right
and left hands the discs of the Moon on lotuses".
As Candradeva this planet is popular in the Chinese collection 2.
lT~Clark : TLP, II, p. 176
2. Clark : TLP, II, pp. 89, 182
368 BUDDHIST ICONOGRAPHY
(III) MANGALA
Colour — Red Arms — Two
Symbol— 'Human head Vehicle— Goal
The third in the series of Nine Planetjs is Mangala or the War*Lord
Mars whose form is described in the following words :
"Chhagale Mangalo raktah savyetfa kattaram vamena Manusa-
mundam bhaksanabhinayena dadhanah". NSP, p, 62
" Mangala rides on a Goat. He is red in colour. In the right hand
he holds the Kattara (cutter) and in the left a severed human head in the
act of devouring".
He is not found in the Chinese collection.
(IV) BUDHA
Colour — Yellow Arms — Two
Symbol — Bow and Arrow
The fourth god in the series of Nine Planets, is Budha or Mercury
and his form is described as under :
"Padme Budhah pitah saradhanurdharah" NSP, p. 62
'*On a lotus there is Budha who is yellow in colour and holds in
his two hands the arrow and the bow".
Budha is represented in the Chinese collection only once ] .
(V) BRHASPATI
Colour — White Arms — Two
Symbols — Rosary and Kamandalu
Vehicle — Frog or Skull
The fifth god in the series of Nine Planets is Brhaspati or Jupiter*
His form is described in the text as under :
"Bheke Kapale va Brhaspatir'gauro'ksasutrakamandaludharah,"
NSP, p. 62
"On a Frog or a skull there is Brhaspati of white colour. He
carries the rosary and the Kamandalu in his two hands".
Brhaspati is not represented in the Chinese collection of Peiping.
1. Clark : TLP, II, p. 83
369
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Fig. 249 Khadiravani Tara
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Fig. 218 Lama
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HINDU GODS IN VAJRAYANA 377
(Vi; SUKRA
Colour — White Arms — Two
Symbol — Rosary and Kamandalu
The sixth in the series of Nine Planets is Sukra or Venus whose form
is described in the text as under :
"Sukrah suklah kamalastho'ksasutra-kamandalubhrt.''
NSP, p. 62
"Sukra is white in colour. He sits on a lotus and holds in his two
hands the rosary and the Kamandalu/'
Sukra is not represented in the Chinese collection.
Colour — Blue Arms — Two
Symbol — Rod Vehicle — Tortoise
The seventh deity in the series of Nine Planets, is Sani, Sanaiscara or
Saturn. His form is described in the following words :
"Kacchape Sanaiscarah krsno dandadharah/' NSP, p. 63
Sanaiscara rides on a tortoise and is blue in colour. He holds the
rod".
Saturn is not represented in the Chinese collection. The selection
of the slowest animal tortoise for the slowest of the planets, Saturn, is
very significant,
(VIII) RAHU
Colour — Reddish Blue Arms — Two
Symbol — Sun and Moon
The eighth deity in this series ot Nine Planets, is the destructive
deity Rahu. His form is as under :
"Rahu raktakrsnah suryacandrabhrt'Savyetarakarah."
NSP, p. 63
"Rahu is reddish blue in colour, and he holds in his two hands the
Sun and the Moon."
As Rahudeva he occurs once in the Chinese collection. This
Chinese statuette is illustrated in Fig. 242 1 .
1. Clark ; TLP, II, p. 153
48
378 BUDDHIST ICONOGRAPHY
(IX) KETU
Colour — Blue Arms — Two
Symbol — Sword and Snake-noose
The ninth and the last in the series of deities representing the Nine
Planets is Ketu. He is described thus in the Dharmadhatuvagisvara
Mandala :
"Ketuh krsnah khadga-nagapasadharah". NSP, p. 63
"Ketu is blue in colour and holds the sword and the noose of snake*"
Under the name Ketugrahadeva, he occurs once in the Chinese
collection '. Fig- 243 illustrates this Chinese specimen.
8. BALABHADRA GROUP
A set of four Hindu deities under the Balabhadra group is describ-
ed fully in the Dharmadhatuvagisvara Mandala of the NispannayogavalL
They include Balabhadra, Jayakara, Madhukara, and Vasanta, and in
Hinduism, all these are the companions of the god Kamadeva, the deity
of Desire.
(I) BALABHADRA
Colour — White Arms — Four
Symbol — Plough Vehicle — Elephant
The first deity in this group is called Balabhadra who may be identi-
fied with Balarama the brother of Krsna. These two pastoral deities of
Hinduism broadly represented Agriculture and Dairying, Balabhadra
is described as under :
"Kunjare Balabhadrah sitah khadga-langaladharah."
NSP, p. 63
"Balabhadra rides an elephant and is white in colour. He holds the
sword and the plough."
He is not to be found in China.
(II) JAYAKARA
Colour — (White) Arms — Four
Symbol — Garland Vehicle — Cuckoo Chariot
The second deity of this group is called Jayakara whose form is
described as under :
"Kokilarathe Jayakaras-caturbhujah (sitah) savyabhyam puspama-
lam banam ca vamabhyarh casaka-dhanusl dadhanah." .
' ' ' p. 63
I. Clark : TLP, II, p. 99
HINDU GODS IN VAJRAYANA 379
"Jayakara rides a chariot drawn by cuckoos ; he is (white in colour)
and is four-armed. With the two right hands he carries the garland of
flowers and the arrow and with the two left Casaka (wine-glass) and the
bow".
He is not represented in the Chinese collection.
(Ill) MADHUKARA
Colour — White Arms— Four
Symbol — Makara Banner Vehicle — buka Chariot
The third deity in this series of Hindu gods is Madhukara whose
form is described as under :
"Sukasyandane Madhukaro gauras-caturbhujah savyabhyam makar-
adhvajasare vamabhyam casakacapau vibharti". MSP, p. 63
"Madhukara rides a chariot drawn by Suka birds and is white in
colour. He is four-armed, and holds in his two right hands the
Makara banner and the arrow. With the two left hands he carries the
wine-glass (Casaka) and the bow".
(IV) VASANTA
Colour — White Arms — Four
Symbol — Wine-glass Vehicle — Monkey
The fourth and the last in this series of four Hindu gods is Vasanta
or the Spring-god. His form is described in the following words in the
Dharmadhatuvagisvara Mandala :
"Plavange Vasantah sitas-caturbhujah savyabhyarii bana-krpanabhrt-
vamabhyam dhanus-casakadharah". NSP, p. 63
"Vasanta rides on a monkey and is white in colour. He is four-armed
and in his two right hands he holds the arrow and the sword. With
the two left he carries the bow and the wine-glass''.
None of these four deities is represented in the Chinese collection.
9. LORDS OF THE YAKSAS, KINNARAS, GANDHARVAS
AND VIDYADHARAS
In the Dharmadhatuvagisvara Mandala eight Lords of Yaksas are
described briefly. This list of Yaksa kings is important as it is not found
elsewhere ; it is not possible also to individualize them in their forms.
The Yaksas are a semi-mythical class of beings who are supposed to
preside over treasures and shower wealth on mankind when propitiated.
Kubera is said to be the greatest among the Yaksas, who according to
the Hindus, lives in the North along with the Yaksa hordes. The name
of his capital is said to be Alakapuri adjacent to Mount Kailasa in the
Himalayan region.
•380 BUDDHIST ICONOGRAPHY
(I) YAKSA KINGS
The names of the eight Yaksa kings are ;
1. Purnabhadra 2. Manibhadra
3. Dhanada 4. Vaisravana
5. Civikundali 6. Kelimali
7. Sukhendra 8. Calendra
They are all collectively described in the Mandala in one brief
sentence :
"Purnabhadradayo Yaksadhipah b!japuraphala~nakulabhrt-savyet-
arakarah". NSP,*p. 63
*'The Yaksa kings beginning with Purnabhadra hold in their hands
the Bijapura (citron) and the Nakula (mongoose) in the right and left
hands respectively".
In colour they differ. Purnabhadra is blue, Manibhadra is yellow,
Dhanada is red, Vaisravana is yellow, Civikundali is red, Kelimali is
green, Sukhendra and Calendra are yellow.
The citron and the mongoose are the natural symbols of Jambhala
the Buddhist god of wealth, and as such, he is of the Yaksa group.
Except Jambhala these Yaksas are rarely represented. In the
Chinese collection there are two illustrations one under the title of
Yaksadeva and another under Yaksa Purnabhadra l. They refer
evidently to this group of deities. Besides them there is a series of
statuettes which are designated with the general title of Mahayaksa^
senadhipatis. They carry the citron and the mongoose.
Allied to the Yaksas are the Kinnaras, Gandharvas, and Vidyadharas.
They are all semi^mythical beings next to gods, who have power to
confer benefit when propitiated. Some information about their kings
is found in the Dharmadhatuvagisvara Mandala of the Nispannayo-
gavalL Their forms are described below in the order in which it is
found*
(II) KINNARA KING
The Kinnara king is not named here but his form is given in the
following words :
"Kinnararajendro raktagauro vinavadanaparah" NSP, p. 63
"The Kinnara king is reddish white in colour and is engaged in
playing on the musical instrument called the Vina".
1. Clark : TLP, II, pp. 102, 313
HINDU GODS IN VAJRAYANA 381
(III) GANDHARVA KING
The Gandharva king is known by the name of Pancasikha and his
form is described as follows :
"Pancasikho Gandharvarajendrah pito vmam vadayati".
NSP, p. 63
"Pancasikha the king of the Gandharvas is yellow in colour and he
plays on the Vina instrument".
(IV) VIDYADHARA KING
The king of the Vidyadharas is named as Sarvarthasiddha and his
form is described as below :
"Sarvarthasiddho Vidyadhararajendro gaurah kusumamalahastah".
NSP, p. 63
"Sarvarthasiddha the king of the Vidyadharas is white in colour
and holds in his two hands the garland of flowers".
10. TWENTY-EIGHT CONSTELLATIONS
The Zodiac is divided into 27 or 28 constellations or Naksattras.
These are called the Lunar Mansions. These Lunar Mansions are
believed to exercise great influence on human beings and their affairs.
They are constantly bringing good or bad effects and are supposed to be
great store-houses of power. It is no wonder, therefore, that in
Buddhism these Naksattras should be deified with colour, faces and
hands. The Naksattras are described collectively in the Dharmadhatu-
vagisvara Mandala of the Nispannayogavall. In this Mandala the
Naksattras are given one face and two arms, which are clasped against
the chest in the Anjali mudra. In colour, however, they differ.
The Naksattras have the following features in common :
"Asvinyadayo devyasca ratnakancukiparidhanah krtanjalayah".
NSP, p. 65
"The deities beginning with Asvinl are decked in bejewelled jackets
and they all show the Anjali mudra".
They differ in colour. Their distinctive colour is given below in
the order in which it is found in the Mandala :
1. Asvini — White 2. Bharam — Green
3, Krttika— Green 4. Rohim— Reddish White
5. Mrgasira— Blue 6. Ardra— -Yellow
1. Punarvasu — Yellow 8. Pusya— Green
9. Aslesa— White 10. Magha— Yellow
382 BUDDHIST ICONOGRAPHY
11. PurvaphalgunI — Green 12. Uttaraphalgum — Green
as Priyahgu
13. Hasta -White 14. Citra— Green
15. Svati-Yellow 16. Visakha-Blue
17. Anuradha— Green 18. Jyestha—- Yellow
19. Mula— Yellow 20. Purvasadha— Blue
21. Uttarasadha— White 22. Sravana— White
• • *
23. Dhanistha— Blue 24. Satabhisa— Yellow
25. Purvabhadrapada— 26. Uttarabhadrapada— Yellow
Green
27. Revati-- White 28. Abhijit— Green
11. TIME DEITIES
(I) MONTHS
Another set of interesting Hindu deities is described in the Kalaca-
kra Mandala as Lords of the Twelve Months of the Hindu Calendar.
As they are rarely represented, it is not necessary to deal with them
in detail. Only a brief and passing reference is all that is necessary
here.
There are altogether twelve months having twelve deities and their
names are given below in the same order as it is given in the Kalacakra
Mandala :
1. Caitra— Naiirti 2. Vaisakha— Vayu
3. Phalguna — Yama 4. Jyaistha— Agni
5. Asadha — Sanmukha 6* Pausa — Kubera
7. Asvina — Sakra 8. Karttika— -Brahma
9. Margasirsa — Rudra 10. Sravana— Samudra
11. Bhadrapada — Ganesa 12. Magha — Visnu
These twelve gods, at least most of them, are described previously.
But the forms in the Kalacakra Mandala are somewhat different. Hete
they are all accompanied with their Saktis, mostly four-armed and have
their distinctive vehicles.
(II) DATES
The Tithis or the distances between the sun and the moon are also
deified, but these cannot be properly determined in the absence of
definite iconographic information. Some of these Tithis (dates) are
found represented in the Chinese collection at Peiping *. Figs. 224
and 245 illustrate the Navami and DasamI Tithis.
I. See for instance Clark : TLP, II, p. 84 where the Tithis, Saptaml, Astami,
Navami and DasamI are illustrated.
HINDU GODS IN VAJRAYANA 383
(III) ZODIACAL SIGNS
Besides these, there are the Twelve Signs of the Zodiac, named in
the Hindu books on Astrology as Mesa, Vrsabha, Mithuna, Karka,
Sirhha, Kanya, Tula, Vrscika, Dhanu, Makara, Kumbha and Mina. It
has not been possible to trace any Sanskrit text from Buddhist
Tantric literature which mentions the Dhyana or even a tolerable
description of these Signs of the Zodiac, But the Rasis are long
believed in India to be the store-houses of mystic power, and it is but
natural to expect that these Twelve Signs should be deified with
colour, form, weapons and the rest. It is also natural that these deities
should be assigned to one or another of the families of the Dhyani
Buddhas so that they may be fitted into the Buddhist pantheon. When
more literature on the subject is published, only then it will be possible
to find descriptive texts. It is however desirable at this stage to refer
to the excellent statuettes of the different Signs of the Zodiac that have
been discovered in China and illustrated by Professor Clarke in his Two
Lamaistic Pantheons, Vol. II, ] .
Figs. 246, 247 and 248 illustrate the three Signs, Tula, Kumbha and
Mina.
(IV) SEASONS
The seasons of the year wore likewise deified and were given
form, colour, weapons, and were affiliated to one or another of the
Dhyani Buddhas. Descriptions of seasons are also not available in the
Buddhist Tantric literature, but their images and statuettes have been
discovered both in Tibet 2 and China 3 .
1. See for instance, Clark : TLP, II, p. 102 for Kanya Devi, p. 101 for Tula Devi,
p. 87 for Kumbha Deva, and p. 86 for Makara Deva.
f
2 & 3. For instance, Gordon : ITL, p. 82 where goddesses for Vasanta, Sarad and
Hemanta seasons are illustrated. Also Clark : TLP, II, p. 308 for Sarad and Hemanta
and p. 307 for Vasanta and Varsa seasons.
CHAPTER XIV
CONCLUSION
The foregoing is an account of the iconography of Buddhist gods
and goddesses as reconstructed from Sanskrit texts of the Buddhist
Tantric literature. The study confines itself to the iconography of gods
and goddesses only, excluding all other favourite themes of the Buddh-
ists carved on stone or painting, such as the scenes from Buddha's life,
the Jataka stories, the Avadanas and others, representations of which,
are available from Bharhut, Sanchi, Amaravati, Gandhara or even the
cave temples of Ajanta. This book does not refer to them nor makes
an attempt to identify them by hunting out the original Sanskrit texts
which are illustrated on stone in the form of stories. It is a practical
handbook for the guidance of Museologists who have to handle large
number of images of gods and goddesses with strange faces, weapons
and poses. It is a work giving indications as to how such images
should be studied, analyzed, and finally identified with the help of
original Sanskrit texts such as are quoted in this book at every place. An
image is nothing but a symbol, and it is the business of the students of
iconography to find out how the image was made, by whom it was
made, and what philosophical and cultural background was necessary
for the production of such an image. In this work, therefore, problems
such as these have been treated and enough information is given in
order to understand a Buddhist image from different view-points. The
scope of this work thus is limited, and it does not claim to unravel the
mystery of all stones on which something is carved. But within the
limited scope, it has enough information of the highest practical value
to the students of iconograghy, and this value is enhanced by the
inclusion of photographs of excellent sculptures, bronzes and original
Nepalese drawings procured with difficulty and at high cost.
The Buddhist pantheon as such did not exist before cir. 300 A. D.
which is the approximate time of the composition of the famous
Tantric work the Guhyasamaja. The pantheon got a good start from
the theory of the five Dhyani Buddhas, the embodiment of the five
cosmic forces, Rupa, Vedana, Samjna, Samskara and Vijnana. The
pantheon further got a fillip from the theory of the Kulas (families) of
the Dhyani Buddhas and their Saktis or female counterparts* The
Dhyani Buddhas thus became the Kulesas or progenitors or heads of
CONCLUSION 385
families, and the families are seen multiplying until they become
overwhelming in number. And along with numerical strength, the
excellent and meritorious artists went on producing such wonderful
specimens of images which were backed by the religious inspiration of
the most transcedental type. The pantheon became extremely attrac*
tive, and all including the Hindus and Jainas started building their
pantheons and adding to their gods and goddesses. In the meantime
other Buddhist countries like Tibet, China, Japan and the rest were
struck by the wealth of gods and sculptures of the most bewildering
variety, and started constructing their own pantheons according to
their own national and cultural genius. The pantheon of the Buddhists
created in India thus became world property, although Buddhism as a
religion vanished from India the land of its birth long long ago.
The teachings of the Guhyasamaja remained dormant for some
300 years, and was handed down secretly from Gurus to disciples, but
later, when it became popular, gradually the process of deification
rapidly grew with newer and newer gods and goddesses. Each
image received and absorbed cultural currents and cross-currents, and
as a living organism took newer and newer forms according to time
and according to space. It has now become so unwieldy and its
ramifications have been so intricate and vast, that it has become a highly
specialized study requiring experts to handle the gods and goddesses
of Buddhism. The study is fascinating to the extreme, and the interest
in the subject is bound to grow with the lapse of time and with the
publication of the original MSS on the subject, such as the Vajravali,
Kriyasamuccaya, the original Tantras like the Kalacakra Tantra, Heruka
and Hevajra Tantras, Vajrayoginl and Vajravarahi Tantras, vast in
number and voluminous in extent. Let us hope that India will take
care of these priceless original manuscripts, preserve them in good
libraries, and gradually through publications make them available to the
world of Buddhists comprising a third of the population of the globe.
Just at the present moment however, for unravelling the mysteries
of the Buddhist images of gods and goddesses, there are only two
books of outstanding value. These are the Sadhanamala and the
Nispannayogavali both published in the Qaekwad's Oriental Series for
the first time. The Sadhanamala was composed in A. D. 1165 since
the earliest manuscript of the work bears a date in the Newari era
which is equivalent to 1165 A. D. Nispannayogavali was written by the
famous Buddhist author and mystic Mahapandita Abhayakara Gupta
whose time is co-eval with that of the Pala king Ramapala who flouris-
hed in A, D. 1084-1130. Both these works were written at a time when
49
386 BUDDHIST ICONOGRAPHY
the psychic phase of Buddhism reached its very zenith, before being
destroyed by the sword of Islam. Both the Sadhanamala and the
Nispannayogavall therefore record faithfully the highest development
of the psychic phase of Buddhism in the 12th century.
The Sadhanas in the Sadhanamala were composed by men distingue
shed in the mediaeval age as great Tantric authors. The Dhyanas
contained in the Sadhanas laid down the essential features of different
gods, and the sculptors and artists prepared images with the help of
these general directions. The Dhyanas left much scope for the exercise
of imagination on the part of the sculptors, and the products of their
chisels were also very greatly influenced by the spirit of the age in
which they flourished, as well as by the geographical situation in which
they worked. The ornaments, dress and even facial expressions of the
images reflected local conditions to a great extent, while the particular
Tantric rites in which the images were used had also a modifying in*
fluence.
It has been pointed out several times that the most important factor
in the identification of images is the miniature figure of the Dhyani
Buddha on their crowns. When, however, the parental Dhyani Buddha
is not present, other marks of identification have to be sought for.
Moreover, difficulties may arise even when the Dhyani Buddhas are
present. In cases where all the Dhyani Buddhas are present on the
aureole, the Buddha right on the top of the head is to be taken as the
parental Dhyani Buddha. The standing figure of Khadiravam Tara in
the Indian Museum, Calcutta or the Vikrampur figures of Parnasabari
are the cases in point. They are both emanations of Amoghasiddhi,
whose effigy appears right above the heads of the goddesses. The
figures of all the other four Dhyani Buddhas are not required either
by the Sadhana or for identification. Their presence can only be ex-
plained by the fact that in all kinds of worship the five Dhyani Buddhas
are the first to be invoked. Sometimes, however, the Dhyani Buddhas
appear on the image for artistic reasons only, as for instance, in the
case of the Dacca Museum image of Arapacana Manjusri. The Java
figure of Arapacana is surrounded by four companions, identical in
appearance with himself, but in the Dacca Museum image there are
four Dhyani Buddhas in addition, on the aureole although the central
position just above the head of the principal deity is occupied by one
of the attendants of Arapacana. The Dhyani Buddhas, here are not
required by the Sadhana and are, therefore, more ornamental than
otherwise.
But the most serious difficulty arises when instead of the Dhyani
Buddha prescribed by the Sadhana some other Dhyani Buddha appears
CONCLUSION 387
on the crown of any figure. For instance, the Sarnath image of
Ucchusma Jambhala should have shown in accordance with the Sadhana
the figures either of Aksobhya or Ratnasambhava on its crown, but
the effigy of Amitabha is shown instead. Again, when a reference is
made to the Lucknow figure of Marici, who according to the Sadhana
should have shown the figure of Vairocana on her crown, shows
Amitabha instead. Again the Indian Museum image of Usmsavijaya
shows the figure of her parental Dhyani Buddha as Aksobhya instead of
her own sire Vairocana.
True reasons for these discrepancies can hardly be given at this state
of our knowledge. The most reasonable suggestion seems to be that
the original texts are not stil] known in their entirety. It must be re-
membered that the Sadhanamala and the Nispannayogavall are not
the only texts produced in Vajrayana. It is quite likely that new
Sadhanas will be forthcoming when further material is published. It is
difficult, however, to believe that a new Sadhana for either Marici or
Usmsavijaya will be available. In the Sadhanamala itself a large
number of Sadhanas is published, but nowhere there is any mention
of any other parental Buddha than Vairocana. Thus the possibility of
discovering further Sadhanas prescribing parental Buddhas other than
Vairocana seems to be remote.
Another alternative suggestion presupposes the existence of ^
fferent cults according as one or another of the Dhyani Buddhas
is believed to be the principal or the Adi-Buddha 1. The Buddhists of
Nepal even now are divided into so many different cults, some regard^
ing Amitabha as the Adi-Buddha, and others acknowledging either
Vairocana or Aksobhya as the Adi-Buddha. Now though the Sadhanas
prescribe the figure of * the Dhyani Buddha Vairocana for both Marici
and Usmsavijaya, the followers of the Amitabha cult are at liberty to
assign them to that Buddha whom they consider to be the ,Adi'Buddha.
Similarly, Ucchusma Jambhala being regarded as the offspring pf
Amitabha, is made to bear an image of that Dhyani Buddha on his
crown in the Sarnath figure already alluded to. It is not necessary to
multiply instances. This is the only reasonable explanation it is
possible to offer at the present state of our knowledge.
In identifying Buddhist images the student of iconography should
guard himself against taking unnecessary figures in the image for prin-
cipal ones, or necessary figures for unnecessary ones. A fulLfledgejd
1. The theory of Adi-Buddha originated in the Nalanda monastery about the
beginning of the 10th century and was accepted first in the Kalacakrayana, a later form
of Vajrayana. See Csoma de Koros : The Origin of the Theory of Adi-Buddha in
J. A. S. B., Vol. II (1833), p. 57f. See also Bhattacharyya : Buddhist Iconography in
JBORS, March, 1923.
388 BUDDHIST ICONOGRAPHY
Buddhist icon shows in the first place, the principal god, an effigy of
his sire on his crown, and the Dhyani Buddhas on the
aureole. The icon may further show miniature figures of the com-
panions of the principal god, some worshippers, mythical figures and
the three, seven, or sixteen jewels or sacred objects of Buddhism. The
figure of Vajrasattva seems to be a favourite decoration with the artists.
He appears on many Buddhist images and is perhaps conceived as a
sort of general guardian of Buddhism and Buddhist worship. For
purposes of identification the principal figure, the figure of the Dhyani
Buddha on the top, and the companions are the indispensable parts of
the image. When, again, a reference is made to the Dacca Museum
image of Arapacana Manjusn in which besides the four companions
there are present four Dhyani Buddhas Vairocana, Aksobhya, Amitabha
and Ratnasambhava, two mythical figures supporting the lotus seat,
and two worshippers to the extreme left of the pedestal. All these
figures are redundant for the purpose of identification, and their
absence in the Java figure of Arapacana in no wise affects it. But if,
for instance, the companions are confused with the worshippers the
identification must be regarded as incorrect. The figures flanking
Vajrasana, for instance, are clearly Maitreya and Avalokitesvara accor^
ding to the Sadhana, but if they are described as worshippers, as has
been done previously, the identification of the whole image becomes
vitiated.
Another difficulty in identification arises when the letters of the
Mantra of the god are deified and appear on the image. This is
found in the case of Vajratara who is surrounded by ten goddesses
who originate from the ten syllables of the Mantra "Om Tare Tuttare
Ture Svaha". It has also been pointed out previously how from the
five letters of the name of Arapacana Manjusri originated the five deities
Candraprabha, Jalimprabha, Kesinl, and UpakesinI, and the principal
deity Manjusri. The Dacca image of Khadiravam Tara (Fig. 249) is a
remarkable instance of the deification of the Tara Mantra. The main
figure in accordance with the Sadhana carries the Utpala in the left
hand and shows the Varada mudra in the right, and she is flanked on
either side by Asokakanta and Ekajata. But on the aureole there are
eight female figures identical in appearance with the principal figure*
They obviously represent none but the eight syllables of the Tara
Mantra "Orh Tare Tuttare Ture", the two others, Usmsavijaya and
Sumbha, being omitted.
Sometimes in the images of Buddhist gods and goddesses we
notice the presence of Ganesa, who is regarded by the Hindus as
"Siddhidata" or the Bestower of Perfection or success in Tantric rites.
CONCLUSION 389
The Buddhists as a proof of their aversion to the followers of the
Brahmanical faith, made their gods trample upon Ganesa. Thus in the
Indian Museum images of Parnasabari and Aparajita, and in the Baroda
Museum image of Vighnantaka, etc., the deities have been represented
as trampling Ganesa under their feet. In the two Vikrampur images
of Parnasabari and in the Dacca Sahitya Parisat image of Mahapratisara,
Ganesa appears below the lotus seat lying prostrate on the ground
crushed under the weight of Buddhist deities. Thus did the Buddhists
manifest their animosity against the Hindu god, Ganesa, giving him the
epithet of Vighna or Obstacle. Their animosity may be further illus-
trated by the following features of the Sadhanas. The four Hindu gods,
Brahma, Visnu, Siva and Indra have been designated uniformly as the
four Maras or Wicked Beings, and several Buddhist gods have been
described as trampling them under their feet. The Sadhanas of
Prasanna-Tara, Vajrajjvalanalarka, Vidyujjvalakarall, and the like, are
instances in point. Trailokyavijaya has been represented as trampling
upon the prostrate forms of Siva and Gauri ; Narayana has been made
a Vahana or vehicle by Harihariharivahana. Poor Brahma has been
most severely handled by the Buddhists. The severed head of Brahma
is a favourite trophy in the hands of Buddhist deities According to
Hindu traditions, Brahma should be very old with grey beard, and four
heads, and the Buddhist deities mercilessly hold the heads by the
matted hair and flourish them in their hands. This is how the Buddhists
attempted to exhibit the superiority of their gods over those of the
Brahmanical faith. It is a matter of satisfaction, however, that the
Hindus never disgraced any gods belonging to the alien faith in this
manner. On the contrary, they placed Buddha among the ten Avataras
of Visnu. In this connection it may be pointed out that in the Kala*
cakra Tantra a work of the 10th century A. D. there is evidence that
an attempt was made by the Buddhists to unite with the Hindus under
the common banner of the god Kalacakra 'The Circle of Time', against
the cultural penetration of the Mlecchas. The later history showed,
however, that the attempt proved futile.
A deep spiritual significance is attached to the colour, weapons, and
the Asanas of Buddhist gods who are either represented singly or
in yab-yum. The conception of yab-yum images, however, is much
more complicated than the single ones.
It has been stated in the Sadhanamala that a single deity may take
any colour according to the particular Tantric rite in which he is invoked.
For instance, in the Santikavidhi or propitiatory rite the god takes the
white or the yellow colour. In Paustikavidhi or protective rite the
390 BUDDHIST ICONOGRAPHY
yellow colour is taken by the deity. Similarly, in Vasyavidhi (bewitch-
ing) and Akarsana (attraction) he may take yellow, green or red colour.
In Ucatana (total destruction) and in Marana (killing) the god is
generally blue. It may be pointed out here that the word 'Krsna1 in
the Sadhanamala always signifies the blue colour, and not black.
Buddhist gods are rarely black, not because the Buddhists had no
perception of the black colour, but because there seems to have been
some prejudice against using the black colour in the paintings of gods.
It may further be pointed out that whenever a deity gets the blue
colour his appearance becomes terrible with protruding teeth and
tongue, garland of severed heads, ornaments of snakes and the garment
of tiger-skin.
With regard to colour it may be remembered that their stock
number is usually five corresponding to the five cosmic elements. Thus
according to authoritative books, the element of Water is white in
colour, Earth is yellow, Fire is red, Ether is green, and Air is blue. Of
these the two colours white and yellow representing Water and Earth are
benign, and the other colours red, green and blue are clearly malefic.
The earthy and watery gods are peaceful, while the gods of the other
three elements are fearful in character. Blue seems to be the most
violent of all.
The Asanas have likewise a spiritual significance. The Vajraparyahka
attitude signifies meditation and introspection, the Ardhaparyahka shows
serenity, the Alidha heroism, the Pratyalidha destruction and disgust,
and the dancing in Ardhaparayanka displays wrath and horror.
A reference may be made here to the yab-yum representations. The
Tibetan yab means 'the honourable father' and yum likewise signifies the
'honourable mother'. Therefore, the word yab-yum means the honour-
able father in the company of the honourable mother. A yab-yum
image has a deep spiritual significance. It signifies that the god, the
embodiment of Sunya is perfect, having attained Karuna and therefore
the highest state of Nirvana.
The conception of Sunya in Vajrayana took the concrete shape of
a god and a goddess. Sunya took the shape of Heruka when a male god,
and became known as Nairatma when a goddess. That £unya took
the form of a deity does not seem strange in Vajrayana, where we find
conceptions, such as Safigha, Dharma, Prajnaparamita, the twelve Para-
mitas, and the five Skandhas deified in the Buddhist pantheon. Thus
the conception of Sunya in the form of a god or a goddess is perfectly
in keeping with the tradition of the Vajrayana system. When the Bodhi
Mind attains Nirvana it merges in Sunya and there remains in eternal
bliss and happiness. And when Sunya was made a goddess, it was
CONCLUSION 391
easily understood, how eternal bliss and happiness was possible after the
attainment of Nirvana. The yab-yum figures, representing Sunya in
the form of Heruka in the embrace of oiinya in the form of Nairatma,
were held up before the mass as ideals, and they readily attracted them
and helped them in their conception of a bright and definite spiritual
prospect.
Buddhists of the Vajrayana consider Sunya as the Ultimate Reality,
and they believe that the host of gods and goddesses, including the
Dhyani Buddhas, are ounya in essence. The innumerable gods and
goddesses of the Vajrayana pantheon are all manifestations of
Sunya. The gods have no real existence, the images have no real
existence, and therefore, it may be positively asserted that a true
Vajrayanist never worshipped an image or god. Naturally, since these,
paintings, images, or even the deities themselves have no real or inde-
pendent existence, they are merely manifestations in a variety of forms
of the One, Undifferentiated Sunya. But it cannot be denied that these
images were very useful, since the forms they presented, in accordance
with the Dhyanas, to the gaze of the worshippers undoubtedly helped
the latter to visualise the deities with whom they were asked to identify
themselves. As they had no real existence, these deities had to be
attracted to the mind-sky from unknown regions in the firmament by
the luminous rays of light issuing from the BIja mantras uttered by the
worshipper. The Sunya takes the form of a divinity in accordance
with the germ-syllable uttered, and exists only as a positive idea in the
mind of the worshipper who identifies himself with that transformation
of Sunya.
The question may be raised as to the necessity of a veriety of gods
and goddesses when one Sunya would have been sufficient. In answer
to this a number of things have to be considered. It may be remember-
ed that Sunya, which was identified with Compassion by the Vajrayan-
ists was conceived as manifesting itself in diferent forms in accordance
with the different functions it had to discharge. For instance, if any
disease is to be cured, Sunya takes the form of Simhanada ; when it is
a question of snake-bite, Sunya becomes Janguli ; when destruction of
the wicked is needed, Sunya takes the form of MahSkala ; when again,
diseases and pestilences are to be prevented, Sunya is conceived as
Parnasabari ; for success in love-affairs, Sunya is invoked in the form
of Kurukulla ; and when forcible submission is required in love-affairs,
£unya becomes Vajrananga, and when finally, Buddhahood is wanted by
the worshipper, he should conceive himself as Heruka* From the above
it appears that the conception of the multitude of Buddhist deities
392 BUDDHIST ICONOGRAPHY
emerges from the one grand conception of ounya in accordance with
the various functions it is supposed to discharge, as a mark of compa-
ssion towards the Buddhists.
Secondly, the number of gods and goddesses increases when Sunya
manifests in different forms the nine "Rasas" or dramatic sentiments.
For instance, Sunya will be Khadiravam or Lokanatha when benign
(Karuna), Marici when Heroic (Vira), Vighnantaka, Heruka or Maha-
kala when awe-inpiring (Bhaya), Aparajita when wrathful (Raudra),
Vajracarcika in its moments of disgust and loathsomeness (Blbhatsa),
Prajnaparamita when peaceful (Santa), and so on.
Thirdly, the number of deities increases as objects such as the
Three Jewels ; philosophical conceptions such as the Paramitas, Bhumis
or Pratisamvits ; literature such the Prajnaparamita, the Dasabhumika
Sastra, the Dharims and the like ; desires such as for eating, drinking,
sleeping and the rest ; the directions such as the north, south, east and
west ; the musical instruments such as the flute, the violin, and the
drum ; and other innumberable ideas and objects, are required to be
worshipped in the forms of gods and goddesses, By these and various
other ways the number of deities in the Buddhist pantheon increased
phenomenally.
As all these deities centre round the one grand conception of Sunya
so also the host of weapons revolve round the one grand conception of
Bodhicitta or the Will to Enlightenment. As these weapons are required
to discharge different functions, the Bodhicitta resolves itself into so
many different forms of weapons J. For instance, when the darkness
of ignorance is to be dispelled Bodhicitta becomes a sword by which
the veil of ignorance is cut asunder. The sword is also to be used to
destroy the Mara hordes who disturb the worshippers. Bodhicitta
becomes the Ahkusa (goad) when the hearts of the wicked are to be
pierced. It is conceived as a noose when the Mara hordes are to be
securely bound. It becomes a needle and a thread when the eyes of
the wicked have to be sewn up. Bodhicitta becomes a Kartri (knife)
when the wicked have to be chopped. It is a Bhindipala (javelin) when
Maras have to be attacked from a distance, and a bow and an arrow if
the distance be greater.
1. Compare the statement in the Jnanasiddhi of Indrabhuti in the Two Vajrayana
Works (GOS), pp. SO, 81
Bodhicittam bhaved Vajram Prajna Ghanta vidtuyate I
Cakratn-ajnanacchedat ca Ratnantu durlabhadapi II
Bhavadosair-aliptatvat jninam tat Padam-ucyate I
Khadgah kle£arisamcchedat Utpaiam plavanat tatah II
CONCLUSION 393
The Mudras also are nothing but the manifestations of the Bodhi-
citta. If protection is needed, Bodhicitta is conceived as the Abhaya
mudra ; if boon is desired it becomes Varada ; when instruction
in Buddhist Law is required it becomes Dharmacakra, and so on.
The Bodhicitta, or the Will to Enlightenment, is that state of Mind
which has already acquired the potentiality of dissolving itself in Sunya.
As a matter of fact, Sunya or Nirvana would be unattainable without
the help of the Bodhicitta, which like Sunya exists only in the mind.
The Bodhi mind leads the aspiring soul into the very presence, so to
speak, of Sunya ; it ultimately merges and loses itself completely in
Sunya.
The gods of the Buddhist pantheon are conceived as carrying the
Bodhicitta in their hands, both being of the nature of Sunya It is
with the help of this Bodhicitta that a god is supposed to confer
Buddhahood or success in Tantric rite upon his worshipper. The
yab-yum conception of deities is still more sublime. The god Heruka,
the embodiment of Sunya, carrying weapons the embodiments of
Bodhicitta also of the nature of Sunya, is embraced by Nairatma,
whose essence is Sunya, carrying weapons also of the nature of Sunya.
Thus the Infinite with the Infinite commingles. In Involution, the
Many become One. This is the highest state — the Anupadhisesa*
Nirvana.
Krto vah sarvasattvarthah
siddhir-datta yathanuga I
Gacchadhvam Buddhavisayarh
punaragamanaya Muh II
"Gods, I bid Ye farewell ! Ye have fulfilled the desires of all
beings. Ye have conferred the desired success. Go Ye to the region
of the Buddhas. Return Ye once again, Muh".
50
APPENDIX
108 FORMS OF AVALOKITESVARA
(In the Machhandar Vahal, Kathmandu, Nepal)
1. Hayagriva Lokesvara. The god sits in the Vajraparyanka
attitude on a lotus. He has four hands, out of which the two principal
ones exhibit the Vyakhyana pose. The second pair holds the rosary
in the right hand and the lotus in the left. He is accompanied by six
other gods and a dragon.
2. Mojaghanjabala (?) Lokesvara. He stands in the Samabhahga
attitude on a lotus, with his two hands showing the Abhaya mudra in
the right and the noose in the left.
3. Halahala Lokesvara. He sits in the Lalita attitude on a lotus
with his Sakti on the lap. He has three faces and six arms. The face
above represent probably the head of the Dhyani Buddha, whose effigy
he should bear on his crown. In his three right hands he shows the
sword, the rosary and the Varada pose. In the three left hands he
carries the lotus, the noose and the Utpala. The hand holding the
noose passes round the Sakti in the act of embracing. The Sakti exhibits
the Varada mudra in the right hand and the Abhaya in the left.
4. Harihariharivahana Lokesvara. Lowermost is the snake, on it
is the lion, over the lion is Garuda, Narayana rides Garuda, and on
his shoulder sits Lokesvara. The Garuda has two hands in the Anjali
mudra. Narayana has four hands, of which the first pair is engaged
in forming the Anjali against the chest ; while the second pair has the
Cakra in the right hand and the Gada in the left. Lokesvara sits in
Vajraparyanka and has six arms ; the right hands show the rosary, the
Cakra and the Varada pose, while the three left carry the Tridandi, the
noose and the Utpala,
5. Mayajalakrama Lokesvara. He has five faces and twelve arms.
The head on the top probably represents Amitabha. He stands
in the Alidha attitude, and wears the tiger-skin and the garland of
heads, but his faces do not present a fearful appearance. The six right
hands carry the Tridandi, the Khatvahga, the jewel, the Khadga, the
Vajra and the rosary, and the six left show the noose, the Kapala, the
Utpala, the fruit, the Cakra and the lotus.
APPENDIX 395
6. Sadaksarl Lokesvara. He sits in the Vajraparyahka attitude,
fie has four arms and one face. The principal pair of hands is joined
against the chest in forming the Anjali. The second pair carries the
rosary in the right and the lotus in the left.
7. Anandadi Lokesvara. He stands in the Samabhahga attitude,
and carries the lotus, the stem of which he holds in his right hand, while
the left displays the Varada pose.
8. Vasyadhikara Lokesvara. He sits in the Vajraparyahka attitude
and carries the bowl in his two hands arranged in the Samadhi mudra.
9. Potapada Lokesvara. He sits in the Vajraparyahka attitude, and
has four arms. The two principal hands exhibit the Anjali against the
chest, while the other pair holds the rosary in the right and the noose
in the left.
10. Kamandalu Lokesvara. He stands in the Samabhahga attitude,
and is endowed with six arms. His two principal hands are engaged
in drawing the bow to its full length. The other four hands carry the
Vajra and the Cakra in the two right andtheGhanta and the Kamandalu
in the two left.
11. Varadayaka Lokesvara. He is one-faced and six-armed and
stands on a lotus. The two principal hands join against his chest in
forming the Anjali. He shows also the rosary and the Varada pose in
the two right hands, and the book and a mudra (probably Karana ?) in
the two left.
12. Jatamukuta Lokesvara. He is four-armed and one-faced, the
head on the top representing the head of Amitabha. The two right
hands show the rosary and the Varada pose, while the two left hold the
lotus and the water-pot. He is represented in a standing attitude.
13. Sukhavati Lokesvara. He is one-faced, and six-armed, and sits
on a lotus in the Lalita attitude. The first pair of hands exhibits the
Dharmacakra mudra, the second pair carries the rosary and the book,
and the third pair shows the Varada mudra in the right and the water-
pot in the left.
14. Pretasantarpana Lokesvara. He is one-faced and six-armed and
stands on a lotus. In his threee right hands he displays the rosary, the
jewel and the Varada mudra, while the three left carry the Tridandi
and the book and exhibit the Varada mudra.
15* Mayajalakramakrodha Lokesvara. He presents a very fierce
appearance with five faces terrible with protruding teeth, and eyes roll-
ing in anger. His hair rises upwards like flames of fire* He stands in
the Pratyalldha attitude and wears the tiger-skin. He has twelve arms,
396 BUDDHIST ICONOGRAPHY
of which the six right carry the sword, the Vajra, the goad, the noose,
the Trisula and the arrow, and the six left hold the shield, the Cakra,
the jewel, the deer-skin, the Kapala and the Tarjani with the noose.
16. Sugatisandarsana Lokesvara. He is one-faced and six-armed
and stands on a lotus. In his three right hands he carries the rosary
and exhibits the Varada and Abhaya poses. The three left have the
Tridandi, the Utpala and the water-pot.
17. Nilakantha Lokesvara. He is one-faced and two-armed, and
sits on a lotus in the Vajraparyafika attitude. He carries the bowl of
gems in his two hands arranged in the Samadhi mudra.
18. Lokanatha Raktaryyavalokitesvara. He is one-faced and two-
armed and sits in the Lalita attitude on a lotus The right hand displays
the Varada mudra while the left holds the stem of a lotus on his lap.
19 Trilokasandarsana Lokesvara. He also is one-faced and two-
armed and sits in the Vajraparyafika attitude on a lotus. His right hand
is raised against the chest with outstreched fingers and palm turned
inwards. The other hand exhibits exactly the same pose (Karana ?) as
displayed by one of the left hands of Varadayaka Lokesvara.
20. Sirhhanatha Lokesvara. He is one-faced and four-armed and
sits in Bhadrasana, or in the European fashion, on a raised seat placed on
the lotus. In his two right hands he carries the sword and the jewel,
while the two left hold the book and the noose.
21. Khasarpana Lokesvara. He is one-faced and two armed and
sits in the Lalita attitude on a lotus. His right hand exhibits the Varada
pose and the left is raised against the chest, holding the stem of a lotus.
22. Manipadma Lokesvara. He is one-faced and four-armed and
sits in the Vajraparyafika attitude on a lotus. His two principal hands
are joined against his chest forming the Anjali and the other pair holds
the rosary in the right hand and the lotus in the left. He is identical
in form with No, 6 described above.
23. Vajradharma Lokesvara. He is one-faced and two-armed and
sits in the Vajraparyafika attitude on a lotus. The right hand displays
the Abhaya pose and the left on the lap holds the stem of the Utpala,
24. Pupala Lokesvara. He is one- faced and four-armed and sits in
the Vajraparyafika attitude on a lotus. One of his two right hands
carries the rosary while the other exhibits the Abhaya pose. One of
the two left carries the book and the other displays a mudra with the
index and little fingers pointing outwards (Karana ?).
APPENDIX 397
25. Ucnauti (?) Lokesvara He is one-faced and six-armed and sits
in Bhadrasana on the raised seat of a lotus. His three right hands exhibit
the rosary, the Vajra and the Abhaya pose, while the three left carry
the Kapala, the noose and the water-pot.
26. Vrsnacana Lokesvara. He is one-faced and six-armed and sits
in the Lalita attitude on a lotus. The three right hands display the
Utpala, the arrow and the Varada pose, while the three left show the
book, the bow and the Abhaya pose.
27. Brahmadanda Lokesvara. He is one-faced and four-armed,
sits in the Lalita attitude on a lotus, and is accompanied by his Sakti
who sits on his lap. His two right hands show the Tridandi and the
Varada pose, while the two left show the Ratnakalasa (vessel containing
jewels) and a mudra with the index and little fingers pointing outwards
The Sakti displays the Varada pose in the right hand and the Abhaya
in the left.
28. Acata (?) Lokesvara. He is one-faced and six-armed, and sits
in the Lalita attitude on a lotus. His three right hands show the
sword, the arrow and the Varada pose, while his three left hold the
Kartri and the bow a'nd display the Abhaya pose.
29. Mahavajrasattva Lokesvara. He is one-faced and eight-armed,
and sits in the Vajraparyanka attitude on a lotus. His four right hands
exhibit the sword, the rosary, the Cakra and the Abhaya pose, while his
four left hold the noose, the Tridandi, the conch and the bowl of gems
on his lap.
30. Visvahana Lokesvara. He is one-faced and six-armed and sits
in the Vajraparyanka attitude on a lotus. His three right hands hold
the sword, the arrow, and the Cakra, while his three left show the noose,
the bow and the Abhaya pose.
3L Sakyabuddha Lokesvara. He is one-faced and four-armed,
and is represented as standing on a lotus. His two right hands hold
the arrow and the Khatvanga, while his two left show the bow and
the TarjanL
32. Santasi Lokesvara. He is one-faced and six-armed and stands
on a lotus. His two principal hands are joined against his chest in form*
ing the Dharmacakra mudra. The other four hands show the rosary
and the Varada pose in the right, and the book and the Abhaya mudra
in the left.
33. Yamadanda Lokesvara. He is one-faced and six*armed, and
sits in the Lalita attitude on a lotus. His three right hands hold the
sword, the lotus and the Vajra, while his three left display the fruit, the
bowl of gems and an unspecified mudra (Karana ?).
398 BUDDHIST ICONOGRAPHY
34- Vajrosnisa Lokesvara. He is one-faced and six-armed, and is
represented as standing on a lotus. His three right hands show the
rosary, the Tridandi and the Abhaya pose, and his three left the book,
the noose and the Varada pose.
35. Vajrahuntika (?) Lokesvara. He is one-faced and twelve-armed
and stands in Ardhaparyahka in a dancing attitude on a lotus. He
holds the Utpala in all his twelve hands.
36. Jnanadhatu Lokesvara. He is one-faced and eight-armed and
stands on a lotus. Two of his hands are joined against his chest in
forming the Anjali mudra ; the second pair exhibits what is called the
Ksepana mudra. The remaining hands hold the rosary and the Tridandi
in the right and the book and the noose in the left.
37. Karandavyuha Lokesvara. He is one- faced and two-armed
and sits in the Vajraparyahka attitude on a lotus. He holds the Vajra
in his right hand and the book against his chest in the left.
38. Sarvanivaranaviskambhl Lokesvara. He is one-faced and two-
armed and sits in the Vajra paryahka attitude on a lotus. His right
hand holds by its stem a lotus on which there is a sword, and his lefr
hand holds the Vajra against his chest.
39. Sarvasokatamonirghata Lokesvara. He is one-faced and four-
armed and sits in the Vajraparyahka attitude on a lotus. Each of his
two principal hands exhibits the Abhaya pose against his chest, while
the other two hands hold the rosary in the right and the Utpala in the
left.
40. Pratibhanakakuta Lokesvara. He is one-faced and four-armed
and sits in the Vajraparyahka attitude on a lotus. He holds the noose
against the chest with his right hand and the bowl of gems in his left.
41. Amrtaprabha Lokesvara. He also is one- faced and two-armed
and sits in the Vajraparyahka attitude on a lotus. He holds the double
Vajra on his lap with his right hand, and the lotus on a water-vessel in
his left.
42* Jaliniprabha Lokesvara. He also is one-faced and two-armed
and sits in the Vajraparyahka attitude on a lotus. He holds the sword
on a lotus in his right hand and the stem of a lotus against his chest
with his left.
43. Candraprabha Lokesvara. He also is one-faced and two-armed
and sits in the Vajra paryahka attitude on a lotus. He exhibits the
Vitarka mudra with' his right hand and holds the stem of a lotus against
the chest with his left*
APPENDIX 399
44. Avalokita Lokesvara. He also is one-faced and two-armed and
sits in the same attitude on a lotus. He wields the sword in his right
hand and holds the stem of a lotus against the chest with his left*
45* Vajragarbha Lokesvara. He also has the same number of
hands and faces as No. 44. He holds the Vajra in his right hand and
the stem of a lotus in his left.
46. Sagaramati Lokesvara. He is in all respecrs identical with
No. 44 except that he holds the double Vajra in his right hand.
47. Ratnapani Lokesvara* He also is identical with No. 44 in all
respects, except that he holds the sword in his left hand and displays
the Varada mudra with his right,
48. Gaganaganja Lokesvara. He also is identical with No. 44 in all
respects except that he exhibits the Vitarka mudra in his right hand
and the book in his left.
49. Akasagarbha Lokesvara. He also is identical with No. 44 in
all respects, except that here the god exhibits the Varada pose in the
right hand and the stem of a lotus in the left.
50. Ksitigarbha Lokesvara. He also is identical with No. 44 except
that here the god carries a tray of gems in his right hand and displays
the Varada mudra in his left.
51. Aksayamati Lokesvara. He also is identical with No. 44,
except that he holds the rosary in his right hand and the lotus on a
water-vessel against the chest with his left.
52. Srstikanta Lokesvara. He is one-faced and two-armed and
stands on a lotus. He displays the Varada pose with his right hand,
while his empty left hand rests near his navel. A large number of
four-armed gods issue from various parts of his body, while Amitabha
appears over his head.
53. Samantabhadra Lokesvara. He is one-faced and two-armed and
sits in the Vajraparyanka attitude on a lotus. He exhibits the Varada
pose with his right hand, and holds the stem of a lotus against the chest
with his left.
54. Mahasahastabhuja Lokesvara. In all respects he is identical
with No. 53, with this difference that here the god wields the sword
in his right hand and displays the Varada mudra with his left.
55. Maharatnakirti Lokesvara. . He is three-faced and six-armed
and stands on a lotus* He holds the fruit, the Utpala and the conch
in his three right hands, and displays the bow, the whip and' the Namas-
kara mudra in his three left. - * * ' "r '
400 BUDDHIST ICONOGRAPHY
56. Mahasankhanatha Lokesvara. He is identical in all res-
pects with No 55, except that he bears different symbols. Here the
god shows the Namaskara mudra, and the two Vajras in his three right
hands, while his three left hold the noose, the arrow and the Ghanta.
57. Mahasahasrasuryya Lokesvara. He is eleven-faced and eight-
armed and stands on a lotus. Each of his two principal hands exhibits
the Abhaya pose against his chest. The remaining hands show the
rosary, the Cakra and the Varada pose in the three right hands and the
Utpala, the bow charged with an arrow, and the vessel in the three left*
This form of Lokesvara is very popular in Tibet.
58. Maharatnakula Lokesvara. He is three-faced and six-armed
and stands on a lotus. The head on the top represents Amita-
bha. He carries the sword, the Utpala and the rosary in his three right
hands and the book, the lotus and the Utpala in the three left.
59. Mahapatala Lokesvara. He is three-faced and six-armed
and stands on a lotus. He holds in his three right hands the Vajra, the
Visvavajra and the Utpala, and in his three left, the banner, the Ghanta
and the Kamandalu.
60. Mahamanjudatta Lokesvara. In all other respects he is similar
to No. 59. But he carries the Ghanta, the sword, and the Ratnapallava
in his three right hands, and the Vajra, the Ghanta and the Utpala in his
three left.
61. Mahacandrabimba Lokesvara. He is thiee-faced and six-armed
and stands on a lotus. He holds the arrow, the Utpala and the fruit in
his three right hands, and the bow, the Vajra and the Cakra in his three
left. The head on the top probably represents Amiiabha.
62 Mahasuryyabimba Lokesvara. He is identical in all respects
with No. 61, except that here the god carries two Vajras and the Cakra
in his three right hands, and two Utpalas and the bowl of gems in his
three left.
63. Maha-Abhayaphalada Lokesvara. He also is similar in form
to No. 61, except that he holds the Vajra, the sword and the Utpala
in his three right hands, and two Ghantas, and the book in his three
left.
64 Maha*Abhayakan Lokesvara. He also is similar in form to
No. 61, but the symbols in his hands are different. Here the god holds
the book against the chest with his two principal hands, the Vajra and
the rosary in his right, and the Ghanta and the Tridandi in his left.
401
Fig. 1(A)
Hayagriva Lokesvara
Fig. 2 (A)
Mojaghanjabala Lokesvara
Fig. 3(A)
Halahala Lokesvara
Fig. 4(A) Hariharihari
Vahana Lokesvara
51
402
Fig. 5(A)
Mayajalakrama Lokesvara
Fig. 6(A)
Sadaksan Lokesvara
Fig. 7(A)
"Anandadi Lokesvara
Fig. 8(A)
Vasyadhikara Lokesvara
403
Fig. 9(A)
Potapada Lokesvara
Fig. 10(A)
Kamandalu Lokesvara
Fig. 11(A)
Varadayaka Lokesvara
Fig. 12(A)
Jatamukuta Lokesvara
404
Fig. 13(A)
Sukhavati Lokesvara
Fig. 14(A)
Pretasantarpana Lokesvara
Fig. 15(A)
Mayajalakramakrodha-Lokesvara
Fig. 16(A)
Sugatisandarsatxa Lokesvara
405
Fig. 17(A)
Nilakantha Lokesvara
Fig. 18(A) Lokanatha-
Raktaryyavalokitesvara
Fig. 19(A)
Trilokasandarsana Lokesvara
Fig. 20(A)
Siihhanatha Lokesvara
406
Fig. 21 (A)
Khasarpana Lokesvara
Fig 22(A)
Manipadma Lokesvara
Fig.23(A)
Vajradharma Lokesvara
Fig. 24(A)
Pupala (?) Lokesvara
407
Fig. 25(A)
Ufnauti (?) Lokesvara
Fig. 26(A)
Vrsnacana Lokesvara
Fig. 27(A)
Brahmadanda Lokesvara
Fig. 28(A)
Acata Lokesvara (?)
408
Fig. 29(A)
Mahavajrasattva Lokesvara
Fig. 30(A)
Visvahana Lokesvara
Fig. 31(A)
Sakyabuddha Lokesvara
Fig. 32(A)
Santasi Lokesvara
409
Fig. 33(A)
Yamadanda Lokesvara
Fig. 34(A)
Vajrosmsa Lokesvara
Fig. 35(A)
Vajrahuntika Lokesvara
Fig. 36(A)
Jnanadhatu Lokesvara
52
410
Fig. 37(A)
Karandavyuha Lokesvara
Fig. 38(A) Sarvanivarana-
Viskambhl Lokesvara
Fig. 39(A) Sarvasokata
monirghata Lokesvara
Fig. 40(A)
Pratibhanakakuta Lokesvara
411
Fig. 41(A)
Amrtaprabha Lokesvara
Fig. 42(A)
Jalimprabha Lokesvara
Fig, 43(A)
Car»draprabha LokesVara
Fig. 44(A)
Avalokita Lokesvara
412
Fig. 45(A)
Vajragarbha Lokesvara
Fig. 46(A)
Sagaramati Lokesvara
Fig. 47(A)
Ratnapani Lokesvara
Fig. 48(A)
Gaganaganja Lokesvara
413
Fig. 49(A)
Akasagarbha Lokesvara
Fig. 50(A)
Ksitigarbha Lokesvara
Fig. 51(A)
Aksayamati Lokesvara
Fig. 52(A)
SrstikantS Lokelvara
414
Fig. 53(A)
Samantabhadra Lokesvara
Fig. 54(A)
Mahasahasrabhuja Lokesvara
Fig. 55(A)
MahjLratnakirti Lokesvara
Fig. 56(A)
Mahasahkhanatha Lokesvara
415
Fig. 57(A)
Mahasahasrasuryya Lokesvara
Fig. 58(A)
Maharatnakula Lokesvara
Fig. 59(A)
Mahapatala Lokesvara
Fig. 60(A)
Mahamanjudatta Lokesvara
416
Fig. 61(A)
Mahacandrabimba Lokesvara
Fig. 62(A)
Mahasuryyabimba Lokesvara
Fig. 63(A)
Maha-Abhayaphalada Lokesvara
Fig. 64(A)
MahS-Abhayakari LokesVara
417
Fig. 65(A)
Mahamanjubhuta Lokesvara
Fig. 66(A)
Mahavisvasuddha Lokesvara
Fig. 67(A)
Mahavajradhatu Lokesvara
Fig. 68(A)
Mahavajradhrk Lokesvara
53
418
Fig. 69(A)
Mahavajrapani Lokesvara
Fig. 70(A)
Mahavajranatha Lokesvara
Fig.^ 7KA)
Amoghapasa Lokesvara
Fig. 72(A)
Devadevata Lokesvara
419
Fig. 73(A)
Pindapatra Lokesvara
Fig. 74(A)
Sarthavaha Lokesvara
Fig. 75(A)
Ratnadala Lokesvara
Fig. 76(A)
Visnupani Lokesvara
420
Fig. 77(A)
Kamalacandra Lokesvara
Fig. 78(A)
Vajrakhanda Lokesvara
Fig. 79(A)
Acalaketu Lokesvara
Fig. 80(A)
Sirisara Lokesvara
421
Fig. 81 (A)
Dharmacakra Lokesvara
Fig. 82(A)
Harivahana Lokesvara
Fig. 83(A)
Sarasiri Lokesvara
Fig. 84(A)
Harihara Lokesvara
422
Fig. ^
Sirhhanada Lokesvara
Fig. 86(A)
Visvavajra Lokesvara
Fig. 87(A)
Amitabha Lokesvara
Fig. 88(A)
Vajrasattvadhatu Lokesvara
423
Fig. 89(A)
Visvabhuta Lokesvara
Fig. 90(A)
Dharmadhatu Lokesvara
Fig. 91(A)
Vajradhatu Lokesvara
Fig. 92(A)
Sakyabuddha Lokesvara
424
Fig. 93(A)
Cittadhatu Lokesvara
Fig. 94(A)
Cintamani Lokesvara
Fig. 95(A)
Santamati Lokesvara
Fig. 96(A)
Manjunatha Lokesvara
425
Fig. 97 (A)
Visnucakra Lokesvara
Fig. ^
Krtanjali Lokesvara
Fig. 99(A)
Visnukanta Lokesvara
Fig. 100(A)
Vajrasrsta Lokesvara
54
426
Fig. 101(A)
Sahkhanatha Lokesvara
Fig. 102(A)
Vidyapati Lokesvara
Fig. 103(A)
Nityanatha LokeSvara
Fig. 104(A)
Padmapani Lokesvara
427
Fig. 105(A)
Vajrapani Lokesvara
Fig. 106(A)
Mahastbamaprapta Lokesvara
Fig. 107(A)
Vajranatha Lokesvara
Fig. 108(A)
Srimad-Aryavalokitesvara
428 BUDDHIST ICONOGRAPHY
65. Mahamanjubhuta Lokesvara. He also is similar to No. 61,
with this difference that here the god carries the sword, the Vajra and
the Kamandalu in his three right hands, and the rosary, the Utpala and
the bell in his three left.
66. Mahavisvasuddha Lokesvara. He is four-faced and eight-armed
and stands on a lotus. He carries in his four right hands the sword,
the flag, the Vajra and the goad, while the four left have the GhantS,
the conch, the Utpala and the lotus.
67. Mahavajradhatu Lokesvara. He is identical with No. 66 in all
respects but the symbols differ. Here the god carries the Vajra, the
bow, the Trisula and the sword in his four right hands, and the Ghanta,
the arrow, the Kamandalu and the noose in his four left.
68. Mahavajradhrk Lokesvara* He also is identical in form
with No, 66, with this difference that here the god carries the sword,
the Vajra, the bow, and the Ankusa in his four right hands, and the
Utpala, the Ghanta, the arrow and the noose in his four left.
69. Mahavajrapani Lokesvara. He also is identical with No. 66,
except that here the god carries the sword, the goad, the Gada, and the
rosary in his four right hands and the Cakra, the noose, the Utpala and
the book in his four left.
70. Mahavajranatha Lokesvara. He is three-faced and eight-armed,
and stands on a lotus. He holds the rosary and the noose and displays
the Abhaya and Varada poses in his four right hands. The three left
shows the book, the Tridandi and the lotus, while the empty fourth
rests near the navel.
71. Amoghapasa Lokesvara. He is four-faced and eight-armed
and stands on a lotus. He carries in his four right hands the Vajra,
the sword, the goad and the bow, while the four left carry the Ghanta,
the Ttidandl, the noose and the arrow.
72. Devadevata Lokesvara. He is similar to No. 71, with this
difference that here the god carries the Vajra, the bow, the Trisula
and the sword in his four right hands, and the bell, the arrow, the
jewel (?) and the noose in his left.
73. Pindapatra Lokesvara. He is one-faced and two-armed and
stands on a lotus. He holds the Pindapatra (the bowl) in his two hands
near the navel.
74. Sarthavaha Lokesvara. He is similar to No. 73 in all respects,
except that here the god displays the Varada mudra in his right hand,
and carries the Pindapatra (the bowl) in his left.
APPENDIX 429
75. Ratnadala Lokesvara. He also is similar to No. 73, in all res-
pects except that here he displays the Varada pose in his right hand,
while his empty left touches his left shoulder.
76. VisnupSni Lokesvara He again is similar in form to No. 73,
except that here he carries the Trisula in his right hand and a lotus bud
in his left,
??• Kamalacandra Lokesvara. He also is similar to No* 73, except
that here he displays the Vitarka mudra in his two hands.
78. Vajrakhanda Lokesvara. He also is similar to No. 73 in all
respects, except that here the god holds the lotus bud in his right hand
and the book against his chest with the left.
79. Acalaketu Lokesvara. He also is similar to No. 73. But he
displays the Abhaya mudra in the right hand and the Pindapatra (the
bowl) in the left. A chowrie rests against his right shoulder,
80. Sirisara (?) Lokesvara. He also is similar to No. 73 in all res-
pects, except that here he wields the sword in his right hand and holds
the noose in his left.
81. Dharmacakra Lokesvara. He again is similar to No. 73, except
that here he carries the Vajra in his right hand and the axe in his left.
82. Harivahana Lokesvara, He also is identical with No. 73, with
the difference that here the god carries the Kamandalu in his right hand
and the chowrie in his left.
83. Sarasiri (?) Lokesvara. He also is identical with No. 73. The
difference is that here the god holds the Trisula in his right hand and
the lotus in his left.
84. Harihara Lokesvara. He is identical with No. 73 except that
here he displays the Vyakhyana mudra with his two hands against the
chest.
85. Simhanada Lokesvara. Similar to No, 73, but here the* god
holds the chowrie against his shoulder with his right hand while the
empty left rests near his navel.
86. Visvavajra Lokesvara. He also is similar to No. 73 with the
difference, that here the god displays the Varada pose with his right
hand and holds a snake in his left,
87. Amitabha Lokesvara. Similar to No. 73, except that here the
god holds the chowrie in his right hand and the wheel in his left,
88. Vrjrasattvadhatu Lokesvara. Similar to No. 73, except that
here he holds the Cakra in his right hand and the conch in his left.
430 BUDDHIST ICONOGRAPHY
89. Visvabhuta Lokesvara. Similar to No. 73 in form, but here
he holds the rosary in his right hand and the lotus in his left*
90. Dharmadhatu Lokesvara. Identical with No. 73 in form, but
here the god holds in his two hands the water-pot near his navel.
91. Vajradhatu Lokesvara. Identical with No. 73 except that here
the god displays the Varada mudra in his right hand and holds the
lotus in his left.
92. Sakyabuddha Lokesvara. Also similar to No. 73, except that
he carries the Vajra in his right hand while his empty left is held near
the navel.
93. Cittadhatu Lokesvara. Similar to No. 73 except that he holds
the image of a Jina (probably Amitabha) in his right hand and displays
the Abhaya pose with his left.
94. Cintamani Lokesvara. Also similar to No. 73, except that
here he carries the Caitya in his right hand while the empty left is held
near his navel.
95. Santamati Lokesvara. Similar to No. 73, with the difference
that he exhibits the Varada pose with his right hand and holds the
bough of a tree in his left.
96. Manjunatha Lokesvara. Also similar to No. 73, but here
the god holds the rosary in his right hand and the book against his
chest with his left.
97. Visnucakra Lokesvara. Similar to No. 73, except that here he
holds the Cakra in his right hand and the Gada in his left.
98. Krtanjali Lokesvara. Similar to No. 73 except that here the
god exhibits the Anjali against his chest with his two hands.
99. Visnukanta Lokesvara. He again is identical with No. 73 in
all respects, except that here the god displays the Varada mudra with
his right hand and the book against his chest in his left.
100. Vajrasrsta Lokesvara. Identical with No. 73, the difference
lies in the fact that here the god carries the chowrie in his right hand
and the lotus in his left.
101. Sankhanatha Lokesvara. Similar to No. 73, with the difier-
ence that here the god holds the conch against his chest with his -right
hand and the lotus in his left.
102; Vidyapati Lokesvara. Also similar to No. 73, except that
here the god shows the empty right hand against his chest while his left
holds the lotus. The chowrie hangs from his right shoulder.
APPENDIX 431
103. Nityanatha Lokesvara. He is identical with No, 73, with the
difference that here the god holds the rosary in his right hand over the
book held in his left
104. Padmapani Lokesvara. He also is similar in form to No. 73,
with the difference that here the god displays the Varada pose with
his right hand and holds the stem of a lotus in his left,
105. Vajrapani Lokesvara. He again is identical with No. 73, in
all respects except that here the god holds the Vajra on his head with
his right hand, while the empty left is held near the navel. The attitude
in which he stands is also different* He shows the dancing attitude in
Ardhaparyanka.
106. Mahasthamaprapta Lokesvara. He is similar in all respects
to Padmapani Lokesvara (No. 104).
107. Vajranatha Lokesvara. Identical with No. 105, Vajrapani
Lokesvara, with the only difference that here the god holds the lotus in
his left hand.
108. Srfmadaryavalokitesvara. He is one-faced and two-armed
and stands on a lotus. He holds the Vajra in his right hand which
rests against his chest while his left holds the stem of a lotus near
the'navel.
GLOSSARY
Abhaya mudra, or the gesture of protection. The hand showing this
mudra should be slightly elevated and bent with the palm turned
outward, the fingers being outstretched and elevated. This mudra
should be distinguished from the Varada mudra in which case the
hand is stretched downwards with the fingers, instead of being
elevated, pointed downwards ; and also, from the Capetadana
mudra, which shows the right hand menacingly extended upwards,
just as is done in dealing a slap.
Aksamala or Mala, is the string of beads such as is carried by the
Roman Catholic priests. The beads consist of a kind of dried
fruit, called in Sanskrit, Rudraksa. It may be made with other
material also, such as crystals, etc.
Alldha, a particular Asana, or attitude of legs, in all respects similar to
the attitude adopted in drawing the bow charged with an
arrow. The right leg is outstretched while the left is slightly bent.
This attitude should be distinguished from the Pratyalldba attitude
in which case the left leg is outstretched while the right is slightly
bent and placed behind.
Anjali, name of a mudra, also known as the Sarvarajendra mudra, or the
Samputanjali. It is the mudra in which the two hands are clasped
against the chest, palm to palm, both of which are extended
upward with all fingers erect or slightly bent. This is the
characteristic mudra of Sadaksari Lokesvara and is also exhibited
by Namasangiti.
Ankusa, elephant goad. See the weapon, for instance, in the image of
Parnasabarl. When the goad is surmounted by a Vajra, it is
called Vajrankusa.
Anuvyanjanas, see Laksanas.
Ardhaparyahka, also called Maharajallla, is a particular Asana of sitting.
Both the legs are on the same pedestal ; one of the knee is raised
while the other is bent in the usual position of a Buddha. This
Asana should be distinguished from the Lalitasana in which case
one of the legs is pendant, while the other is bent in the usual
position of a Buddha, When both the legs are pendant, the attitude
is called Bhadrasana.
GLOSSARY 433
Asana, the word in Sanskrit may mean a seat, a mystic or any attitude
exhibited in the lower limbs. The word Padmasana means the
seat of lotus. Similarly, Simhasana means the lion^throne or the
seat of a lion* The word Sukhasana means any easy attitude of
sitting. It may be the Paryankasana, Lalitasana or the Ardhapar*
yankasana. In fact, in the Sadhanamala, the word Sukhasana
has not been used in a technical sense. When used in a technical
sense Asana is of various kinds, such as the Paryafikasana,
Vajraparyankasana, Lalitasana, Ardhaparyankasana, Bhadrasana,
Alldhasana, Pratyalidhasana or the Natyasana, a variety of Ardha-
paryanka.
Asoka, the absence of sorrow ; but the word is always used to
designate a particular kind of tree which blossoms forth red
flowers. From time immemorial, this tree is regarded as sacred in
India. It is believed that kicks at the tree by chaste women cause
it to blossom.
Bana, see Sara.
Bhumisparsa, also called Bhumisparsana or the Bhusparsa, is the name
of a mudra. The right hand exhibiting this mudra has the palm
turned inward and the fingers outstretched, with the tips touching
the ground. This mudra should be distinguished from the Varada
mudra in which case tips do not touch the ground and the palm
instead of being turned inward is turned outward. The deity
showing the Bhusparsa mudra must sit in the Vajraparyahka
attitude.
Bhutas, a class of mischievous spirits or hobgoblins who, without
any provocation whatever, are supposed to injure men and
destroy them mysteriously.
Bija, means a 'seed'. In Tantra it signifies the Germ-Syllable which
takes the form of a deity in the course of meditation.
BIjapura, citron, a characteristic symbol of Jambhala.
Brahmakapala, or the Brahmasirah> is the severed head of Brahma
who is credited with four faces with grey beards in all of them
and the crown of matted hair. The Buddhist gods, carrying
triumphantly the severed head of Brahma, display the aversion
of the Buddhists towards the Hindus, as well as, the superiority
of their gods to the gods of the alien faith.
Brahmamukha, the face of Brahma containing four faces. The Brah*
mamukha is superimposed on the head of Paramasva.
55
434 BUDDHIST ICONOGRAPHY
Brahma si rah see Brahmakapala.
Caitya, or the Stupa, which represents the Buddhist Universe, is the
Buddhist sanctuary, sometimes square and sometimes round, with
spires or steps on the capital. Each spire or step represents a
heaven, the uppermost portion being a point which is supposed
to be the highest peak of Mount Sumeru, a mythical mountain,
whence the Bodhicitta loses itself in ounya. On the four sides of
the Caitya the figures of the Dhyani Buddhas appear. Vairocana is
sometimes present. The corners are occupied by the figures of the
Divine Buddhasaktis or their symbolic representations in the
form of Yantras. The Caitya may show further, in the four cardinal
points, the Caturmaharajikas or the Great Rulers of the
Quarters, namely, Vaisravana, Virupaksa, Vtrudhaka and Dhrtara-
stra. See Stupa.
Cakra, Wheel or disc. It is the characteristic symbol of the Hindu
God Visnu or Krsna.
Camara, Chowrie or the fly-whisk consisting of the tail of a Yak.
Capa, also called Dhanus, is the bow. It is generally carried in the left
hand. With the bow and the arrow Marlci inflicts pain to the
Mar as or wicked beings.
Casaka, Wine-glass.
Caturmudra — See Sanmudra.
Chintamani — the gem that satisfies all desires. The jewel is sometimes
represented in the form of a small round object and sometimes in
the shape of a flame.
Dakini, same as Sakti. See Sakti.
Damaru, small drum, such as is carried by the Hindu god Siva.
Danda, the staff or the mace carried by Hayagrlva. It cannot be- trans-
lated as the magic wand, as the Khatvanga serves that purpose.
When the staff is^ surmounted hy a Vajra, it is called Vajradanda.
Dharani or Dharim, meaningless conglomeration of syllables, occasion-
ally containing one or two intelligible words, used as a charm
or prayer. There are DharanvSangrahas or collections of Phara*
nis in the Nepal Library, with an astonishingly large nujnber of
Dharams devoted to different deities. The Ikt giyen;iji the
Nepal Catalogue Vol. II. App, p. 225, et sqq. may JbexpnsiiHed.
Dharmacakra, or. Vya.khyan* mudraris that gesture of hands. .exhibited
by Lord Buddha -while preaching his first sermon at ,3arnath.
This pose is depicted variously but the most artistic and correct
GLOSSARY . 435
representation of this mudra is to be found in the celebrated
Prajnaparamita image from Java. See Getty : GNB, p. 187.
Dhanus, same as Capa. See Capa.
Dhupa, incense stick, which when burns, emits fragrance.
Dhyana, meditation ; it refers generally to that portion of the Sudhana
in which instruction is given as to the description of the deity
with whom the worshipper is to identify himself.
Dhyana, or Samadhi mudra ; the position of hands while in meditation.
The hands with palm upwards lie one upon the other on the lap
with all fingers stretched. This is the characteristic mudra of
Amitabha.
Dhyanasana, or Vajraparyahkasana, or Vajrasana, is the meditative
pose, the two legs being firmly locked with both the soles apparent,
the characteristic sitting attitude of the Dhyani Buddhas. Some*
times a small thunderbolt, shown on the seat of the god, indicates
the meditative attitude. Dhyanasana should be distinguished
from the Paryahka attitude in which case the legs are placed one
upon the other with both the soles invisible.
Dlpa, lamp, the sacred lamp fed with ghee.
Gada, mace.
Garuda, mythical bird supposed to be the destroyer of all serpents.
The Hindus regard him as the Vahana of Visnu. Garuda is
represented as a huge bird with a human body, two wings and
sharp beaks, generally with hands clasped against the chest.
Ghanta, bell ; when the bell is surmounted by a Vajra, it is called Vajra-
ghanta, which is a symbol of Vajrasattva.
Jatamukuta, the crown of matted hair. The hair is tied up above the
head in such a way as to resemble a crown or a tiara.
Kalasa, is the ordinary water-vessel of metal or earth. It is different
from the Kamandalu or Kundika, which is smaller in size and
is provided with a projecting pipe for discharging water.
Kamandalu, see Kalasa
Kapala, either (i) severed head of a man, or (ii) the cup made of a skull,
or (iii) a bowl. The skull cup is of two kinds ; when it is filled
with blood it is called Asrkkapala, and when with human flesh it
is called Mamsakapala. The deities are supposed to partake of
the blood or the flesh carried in these cups.
Karana, mudra. Any hand showing this mudra is outstretched with the
index and the little fingers erect, while the thumb presses the two
remaining fingers against the palm of the hand.
436 BUDDHIST ICONOGRAPHY
Karppara, same as Kapala. See Kapala.
Kartri, or Karttari signifies a small knife ; sometimes the edge of it is
uneven like the edge of a saw. It is called Vajrakartri when
surmounted with a Vajra.
Khadga, sword. The sword in the hand of Manjusri is called the
Prajnakhadga or the Sword of Wisdom, which is believed to
destroy the darkness of ignorance by the luminous rays issuing
out of it.
Khatvanga, magic wand ; the stick is generally surmounted either by
Vajra or the Kapala, or the Trisula or the banner, or all of them.
In any case, for a Khatvanga the skulls are necessary and it will
be so called even if nothing else is present.
Ksepana, the mudra of sprinkling, exhibited by Namasanglti. The
two hands are joined palm to palm with fingers all stretched, the
tips of which are turned downwards and enter into a vessel con^
taining nectar.
Kundika, same as Kamandalu. See Kalasa.
Laksanas, auspicious marks ; the thirty^two special marks of the Buddha,
enumerated in Dharmasahgraha attributed to Nagarjuna. The
Laksanas are also enumerated in Getty : GNB, p. 190. Another
class of minor marks is called Anuvyanjanas, eighty in number,
also enumerated in the Dharmasahgraha.
Mala, same as Aksamala. See Aksamala.
Mandala, the magic circle, containing mystic figures and diagrams, and
figures of gods and goddesses constituting the Mandala. In the
Nispannayogavali Tantra, Kriyasamuccaya and the Vajravalfoiama*
mandalopayika there are descriptions of a great number of
deities constituting the circle.
Mani, same as Cintamani ; see Cintamani.
Mantra, mystic syllables sometimes containing a few intelligible words,
but shorter than the Dharanls. The Mantras are believed to be
a contracted form of the Dharams and are meant for the mass to
obtain an easy salvation, by simply muttering them* In many
instances, the Mantra gives the name of the divinity or his attri*
butes, and these are most important in determining the names
of different gods when the Colophons of Sadhanas are not
enough.
Mayura, peacock , and Mayurapiccha signifies feathers of a peacock,
Mudgara, hammer ; it may also mean a staff or a mace.
GLOSSARY 437
Mudra, mystic pose of hand or hands. Some of the Mudras can be
shown by one hand, such as the Varada, Abhaya, Namaskara, etc,
others require both the hands such as the Anjali, Dhartnacakra,
and many others. In the Sadhanamala there are descriptions of
an overwhelming number of Mudras. But it is very difficult to
comprehend them unless actually explained by the priests*
Musala, pestle
Nagas, serpents. They have the character of water-spirits and are believ-
ed to dwell in the springs, lakes and tanks, and have the power
to bring or withhold rains. But if they are roused to anger, they
hurl down rocks from the mountain tops and destroy fair cities.
The gods of the Sadhanamala are fond of ornaments of eight
lords of snakes.
Nakull, mongoose ; the characteristic animal of Jambhala. The
mongoose is believed to be the receptacle of all gems and when
the God of Wealth presses the animal, it vomits forth all the
riches.
Namaskara, the mudra assumed by the Bodhisattvas, when paying
homage to the Buddhas or Tathagatas, or by the minor deities to
the principal one. The hand, slightly bent, is raised above in a
line with the shoulder with fingers outstretched or slightly bent
with the palm turned upwards.
Nupura, anklet ; small bells are attached to the ornament so that when
the leg moves, it chimes melodiously.
Padma, lotus, which may be of any colour except blue. The blue lotus
is designated by the word Utpala or Nllotpala. In Tuntric
works the Padma is the day lotus, while Utpala stands for the
night lotus. It is regarded as especially sacred by all classes of
Indians. See Getty : GNB, p. 192. When the lotus shows petals
in both the upper and lower directions it is called the Visvapadma
or the double lotus. Padma indicates purity of descent.
Parasu, axe.
Paryaixka, see Dhyanasana.
Pasa, noose or lasso ; when a Vajra is attached at the end of it, it is
called the Vajrapasa or the adamantine noose. The noose is
required to bind the host of the Maras and all other wicked
beings.
Patra, begging bowl or bowl generally found in the images of the five
Dhyani Buddhas and of Buddha 5akyasimha. Sometimes the
Kapala is used in the Sadhanamala to designate a bowl (See
Kapala). Getty records a Buddhist legend to show how a Patra
came in the possession of the Buddha. Getty : GNB, p. 193,
438 BUDDHIST ICONOGRAPHY
Prajna, see oakti.
Preta or Mrtaka or Sava, always means a corpse or ghost in Indian
Buddhist Iconography.
Pustaka, book in the form of a Manuscript which represents the
Prajnaparamita or the Book of Transcendental Knowledge.
Nagarjuna is said to have restored the Scripture from the nether
regions. The book is carried by several Buddhist gods, notably,
Prajnaparamita, Manjusrl, Sarasvati and Cunda.
Ratna, jewel. The word Triratna signifies the three Jewels, Buddha,
Dharma and Sangha. Similarly, there are different groups of
jewels, such as the seven jewels or the sixteen jewels. For the
enumeration of the seven jewels, see Getty : GNB, p. 194. See
also Cintamani.
Sadhana, procedure of worship for the invocation of Buddhist gods,
and not *charm' as translated by C. Bendall. The Sadhanamala
or the Sadhanasamuccaya is a collection of 312 Sadhanas.
Sakti, or Prajna, Vidya, Svabha Prajna or Svabha- Vidya, the female
counterpart of a Bodhisattva. All goddesses are regarded as
female counterparts of one or another of the Bodhisattvas.
The Saktis are either represented singly or in yab-yum, i, e. in
the actual embrace of the god to whom she is affiliated as a Sakti.
This female counterpart is called Svabha' (own light, being the
principal god's own creation). She sometinles carries the same
weapons as are carried by the principal god.
Samadhi, meditation ; the deepest form of abstract meditation. For
a description of the Samadhi mudra see Dhyanamudra.
Sankha, conch-shell ; it is especially given as a symbol to the gods
as the sound viabrated through a shell penetrates far and wide.
The conch-shell seems to have been extensively used in wars by
ancient Indians.
Sanmudra, the six-mudras ; the meaning of this mudra is quite
different from the mudra meaning mystic gestures. It has been
translated as auspicious ornaments or symbols. The six ornaments
are enumerated in the following verse in the Sadhanamala :
"Kanthika rucakam ratnamekhalam bhasmasutrakam I
Sat vai pSramita eta mudrarupena yojitah" II
"The torque, the bracelet, the jewel, the girdle, the ashes and the
sacred thread are ascribed to the gods in the form of mudras
(ornaments), which represent the six PSramitas".
GLOSSARY 439
These ornaments or symbols are generally of human bones, the
Khatvanga being the sacred thread. When one of the six is
absent they are called Pancamudra, and Caturmudra, when two.
Sara, or the Sana, is the arrow. It is generally carried in the right hand,
while the corresponding left shows the Dhanus.
Sava, see Preta.
Siddhas, or Siddhapurusas are saints who have already attained Siddhi
or perfection in a Tantric rite, and have acquired supgr-normal
powers. Two groups of Siddhas are generally recognized, one
consisting of nine and another of eighty-four* They were famous
in the mediaeval age for their magical powers and prodigious
deeds. Most of them hailed from the East.
Simha, lion. The word SimhSsana means the lion-seat or the lion-
throne, but does not designate a special attitude of sitting such as
the Vajrasana, Ardhaparyankasana, and so forth. See Asana.
Srnkhala, chain, also called the Vajrasrnkhala, (which is the charac-
teristic symbol of Vajrasrhkhala), when the chain is surmounted
by a Vajra.
Stupa see Caitya.
Suci, mudra used generally in the act of dancing, though it is to be
seen in other cases also. All the fingers are stretched with the
tips joining at the end, so as to resemble a needle fSuci).
Sunya, translated as 'Void' in the absence of a suitable and more ex-
pressive word. It signifies a state of the mind after Nirvana,
about which neither existence, nor non-existence, nor a combina-
tion of the two, nor a negation of the two can be predicated.
This £unya in Vajrayana is identified with Compassion which
transforms itself in the form of divinities, of the nature of Sunya,
for the welfare and happiness of men. In Vajrayana Sunya is the
Prime Cause of all manifestation.
Suryya, the sun or the disc of the sun which is held in one of her
hands by Marlci and which is the seat of many Buddhist gods
and goddesses. Rahu is said to devour the sun and the moon.
Svabha Prajna, see Sakti.
Tarjani, mudra ; the pose of the raised index finger in a menacing
attitude. In the hand showing this mudra, the index finger only
is raised while the other fingers are locked up in the fist. If a
Pasa or noose appears round the index finger it is called Tar jam*
pasa. The word Vajratarjam signifies thfe Vajra -held in the fist
while the index is raised in a menacing attitude. . ., . • ." • Y
440 BUDDHIST ICONOGRAPHY
Tarjaniplsa, see Tarjam,
Tarpana, mudra of doing homage to the Departed Fathers ; the mudra
of Namasangiti. Any arm showing this gesture is bent and is
raised upward in a line with the shoulder. The palm of the hand
is turned inward with fingers slightly bent and pointed towards
the shoulder.
Tathagatas, the Buddhas who have attained the highest state of perfec-
tion according to the Buddhists. In the Sadhanamala, the word
is invariably used in the plural number with reference to the
five Dhyani Buddhas, but does not even signify Vajrasattva or
Vajradhara. The Buddhas are innumerable and have a hierarcy
among them, the different orders being Pratyeka, Sravaka, Samyak-
Sambuddha, Jina, Arhat, Tathagata, and the like.
Trailokya, pertaining to the three worlds : the divine, the terrestrial and
the infernal.
*
Trisula, trident. The Hindu god Siva is believed to carry the trident,
and hence it is popular among the Tantra symbols as most of
the Tantras are in the form of a dialogue between Siva and
Par vat I.
Utpala, see Padma.
Vahana, the vehicle or the mount of gods ; the mount may be any
animal including men, demons and corpses. Sometimes even the
gods of an alien faith serve as Vahanas.
Vajra, thunderbolt. When two thunderbolts are crossed, it is called a
Visva*vajra, or a double Vajra. In Buddhist Tantra the word
generally designates ounya or Void, which cannot be cut, cannot
be destroyed, but which destroys all evils.
Vajradanda, see Danda.
Vajraghanta, see Ghanta.
Vajrahunkara, mudra. The wrists are crossed at the chest with two
hands holding the Vajra and the bell, both of which are turned
inwards. But if the two symbols and the hands are turned out-
ward the mudra will be called the Trailokyavijaya mudra.
Vajrakartri, see Kami*
Vajrankusa, see Ankusa.
Vajraparyanka, see Dhyanasana.
Vajrasrhkhala, see £rnkhala.
VajratarjanI, see Tarjam.
GLOSSARY 441
Varada, mudra, the gesture of hands shown by gods while conferring
boons. The hand showing this gesture is pendant with its palm
outward and fingers all stretched* Sometimes a jewel is seen
stamped on the hand showing the mudra when it is known as the
Ratnasamyukta- Varada, that is, the gift'bestowing attitude together
with a jewel. The Mahoba figure of Khadiravam is an example
of this kind.
Visvapadma, the double conventional lotus. See Padma.
Visvavajra, the double conventional Vajra. See Vajra.
Vitarka, mudra assumed in discussion. This mudra is altogether un-
known in the Sadhanamala and seems to be a later development.
It is, nevertheless, shown by a number of forms of Avalokitesvara
treated of in the Appendix all of which are more or less influenced
by Tibetan art and iconography. This mudra is represented with
the right arm bent, all fingers erect except either the index or the
ring finger which touches the thumb so as to resemble a ring. The
hand is extended forward with the palm outward.
Vyakhyana, mudra, see Dharmacakra.
Yab-yum, is a Tibetan word consisting of two particles yab and yum.
The word cYab' in Tibetan means the 'honourable father* and
'yum' means the 'honourable mother'. The combined word,
therefore, means the father in the company of the mother, or in
her embrace. For the spiritual significance of the conception of
yab-yum, see Conclusion.
Yaksas, are mis-shapen dwarfs who guard the treasures of the Northern
mountains and their chief is Kubera, the God of Wealth. They
are usually malignant in disposition and they occasionally feed on
human flesh But the benign influence of Buddha's teaching
makes them forego their cruel habits.
56
INDEX OF WORDS
Abhayakara Gupta, 3, 4, 47, 82, 155
Abhidhanottara Tantra, 4
Abhimukhi Bhumi, 335, colour 335,
symbol 335, dhyana 335, described
335, images 335
Acala 154, 155, colour 255, direction 255,
dhyana 255, described 255, Sakti 255,
images 255
Acala Bhumi, 336, colour 336, symbol 336,
dhyana 336, described 336, images 336
Acalaketu Lokesvara, described 429
Arala Vajrapani, 155
Acata (?) Lokesvara, described 397
Adamantine sow, 217
Adherence to the Path, 20
Adhikarin, equipments of, 24
Adhimukticarya Bhurri 333, colour 333,
symbol 333, dhyana 333, described
333, images 333
Adhimuktivasita, 331, colour 331, symbol
331, dhyana 331, described 3 31, images
331
Adibuddha, 42, 43, manifestation of, 101,
cult of, 44
Adibuddha, Dhyani Buddhas as, 387, di-
fferent cults with different, 387
Adibuddha, temple over the flame of,
lOOf,
Adibuddha theory, time and place of in-
troduction 38 7n
Aditya, 367, colour 367, symbol 367,
vahana 367, dhyana 367, described 367,
images 367
Adibuddhayana, 187
Adiyana, 187
Advaya, 30
Advayavajra, 9, 48
Advayavajrasahgraha, 25
Agni, 362, colour 362, vahana 362, direc-
tion 362, dhyana 362, described 362
images 362
Ahankara, 27, 30
Ajanta, 5, 39
Ajaya, 160, direction 160, form 160
Akanistha heaven, 34
Akarsana rite, 166
Akasagarbha Bodhisattva, 85, colour 85,
symbol 85, dhyana 86, described 86,
images 86, forms 86
Akasagarbha Lokesvara, described 399
Aksayajnanakaranda Dharini, 341, colour
341, symbol 341, dhyana 341, described
341
Aksayamati Bodhisattva, 84, colour 84,
symbol 84, dhyana 84 described 84,
images 85
Aksayamati Lokesvaro, 39>
Aksobhya Dhyani Buddha, 51, colour 51,
vahana 51, nnidra 51, symbol 51, dhya-
na 51, described 51, images 51, in
stupa 5 1 , direction 5 1 , family 5 1 , forms
52, lord of the East 52 ; eight-armed form
52, dhyana 52, described 52 ; origin
of 45, as a Tathagata, 34, 35, in the
Hindu pantheon 191, on the crown of
Hindu Tara 191, gods emanating from
l54f, goddesses emanating from 189f.
Alakapuri, Kubera's capital 379
Alchemy, 8
Amravati, 5
Amitabha, 14, 34, 49, dhyana 49, symbol
49, vahana 49, mudra 49 described 49,
images 50, origin of, 45, sire of Avaloki-
tesvara 124, gods emanating from 145f,
goddesses emanating from 147f-
Amitabha Lokeivara, described 429
Amitaprabha (also Amjrtaprabha), 90f,
colour 90, symbol 90, dhyana 91, des-
cribed 91, images 91
Amitayus, 35
Amuayus Sutra, 14, 15, 100.
Amoghadarsi Boddhisattva, 97, colour 97,
symbol 97, dhyana 97, described 98,
444
BUDDHIST ICONOGRAPHY
images 96
Amoghapala Lokesvara, described 428
Amoghasiddhi Dhyani Buddha, 22, 55f,
colour 55, mudra 55, vahana 55,
symbol 55, dhyana 55-6, described 56,
images 56, direction 56, place in stupa
56, origin of, 45, emanations of 226
Amrtalocana, 249
Amrtamukhi, 249
Amrtananda, 2, 3, 142, 205, 206
Amrtaprabha Lokesvara, described 398
Analarka, 254
Ananda, 79, 191
Anandadi Lokesvara, described 395
Ananga, 187, Hindu god of love 115
Ananga VHJra, 12, 35
Anantamukhi Dharini, 340, colour 340,
symbol 340, dhyana 340, described 340.
Ananta, snake, 148
Animal-faced deities, 319, general descrip-
tion 319, deification of animals 319,
special features 319
Animosity against Hindu gods, 389
Anjali mudra, 129, 207, of Sudhanakuma-
ra 129
Anupama Raksita, 20
Anusmrti, 26
Aparajita, 183
Aparajita, 151, 222, colour 151, described
151, direction 151, see also Sitatapatra
Aparajita
Aparajita, 245 f, colour 245, mudra 245,
dhyana 246, described 246, images 39,
246, Nalanda fragment 246, Indian
Museum image 246
Appearances, 28
Arapacana, IZOf. name explained 120,
colour 120, companions 120, symbols
120, described 120, images 120, origin
of 121, images 39, 121, 121n
Arcismati Bhurai, 334, colour 334, symbol
334, dhyana 334, described 334, images
335
Artha Pratisariivit, 343, colour 343, symbol
343, dhyana 343, described 343, images
343
Arolik, 45
Aruna, 207
Arya-JangulI, 228, as companion, 228,
dhyana 228, described 228, images 229
Arya'Manjulrlmulakalpa, 100
Arya-Manci, 2 10, symbols 210, described
210
Aryatara, 229, name of Vas\atara 229,
sadhana 229, described 22, green 307,
special features 307
Arya-Sarasvatl, 351, symbol 351, described
351, images 351
Arya-Vajravarahi, 219, four-armed 219,
described 219, symbol 219
Asanas, significance of 389, 390, senti-
ments in 390
Asanga, 8, 12, 13, 41, 197, deified 35, ini-
tiated by Maitreya 81)
Ascetic, 25
Asiatic Society's Library, 4
Asokakanta Marici, 227, as a minor deity
227, as companion 228, described 209,
228, dhyana 209, 228, images 209, 229,
vahana 209, colour 209
Asoka bough, 209
Assam, 6
Astabhuja Kurukulla 245> 249, companions
of 249, colour 150, mudra 150, sadhana
150, dhyana 150, described 151, images
151
Astabhuja Marici, 211, colour 211, resi-
dence 211, described 211, attendants
211, images 212
A§tamahabhaya Tara, 308, white 308,
special features 308
Astabhujaplta Marici, 210
Astabhuja Vajratara, 240, name of Vajra-
tara in Peiping 240, see Vajratara
Astrology, 8
Astronomy, 8
AsVaghosa, deified 35
Atila Dlpankara, 16
Avalokita Bodhisattva 143
Avalokita LokesVara, described 399
AvalokitesVarall, 14,30,34, 35, 38, 49,
origin of 143, ruler of BhadrakaJpa
124, his sire Amitabha 125, character
124, special qualities 124« sadhanas
124, forms in the SadhanamalS 124,
(108) forms in Nepal 6n. 88, 124, 144,
discovery of 108 forms 125, images
125.
AvalokitesVara Bodhisattva, 88f, colour
88, symbol 88, dhyana 88, described
INDEX OF WORDS
445
83, images 89
Ayurvasita, 329, colour 329, symbol 329,
dhyana 329, described 329, images 329
B
Balabhadra, 378, pastoral deity 378, colour
378, symbol 378, vahana 378, dhyana
378, described 378
Balabhadra Group, 378, deities of the, 378,
their nature 378
Balaparamita, 327, colour 327, symbol
327, dhyana 327, described 327, images
327
Banerji, R. D. 39
Bendall, 35n
Bengal 5, 6, school of art 38, 39
Bewitching, rite of, 115
Bhadrakalpa, ruler of 49, 124
Bhadrapala Bodhisattva, 96, colour 96,
symbol 96, dhyana 96, forms 96, des*
cnbed 97, images 97
Bhadrasana 229
Bhairava, 161, 162, as vahana 218
Bharhut, 5, 31
Bhatgaon, monasteries n, 41
Bhattasali (Dr. Nalini Kanta), 1, 16, 39,
130, 156, 223, 233
Bhima, 160, direction 160, form 160
Bhlmadars'ana 160, direction 160, form 160
Bhismabhagini, 236
Bhota 193
Bhrkuti, 128, 129, 135,147, 152, colour 129
*135, 152, symbol 129, 135, 152, des-
cribed 129, 135, 152 sadhana 152, Dhya-
na 152, forms 152, images 153, yellow
309, special features 309
Bhrhgi, 365, colour 365, dhyana 365, des-
cribed 365
Bhumis, ten, 28
Bhumi deities, twelve 333, meaning 333,
definition 333, description 333, images
333
Bhurim, 135, colour 135, symbol 135, des-
cribed 135
Bhutadlmara 182, mudra, 182, sadhana
182, dhyana 182, described 182-3, sire
183, images 183, cult of 183
Bhutadamara VajrapSni, 183
Bhuvanesvarl 117n
Bihar 6
Bimba (icon'drcle), 26
Birbhum 38
Blue colour, significance of, 154
Bodhi21
Bodhicaryyavatara 5
Bodhicitta, 25, 27, nature of> 393
Bodhi knowledge 1 1
Bodhi mind, 28, 29, 30, charged with
Karuna 31
Bodhisattva, 11, 20, 27, 28, meaning of 82,
class of deities 82, female counterparts
82, independent group 82, in Nispanna-
yogaval! 82, three sets of 16 deities 82,
lists of, 82, with Dhyani Buddha forms
99, companions of JLokanatha 130,
group of eight 98
Bodhisattva, Padmapani, 49
Bodhi sattvay ana 8
Bodhnath, stupa of 32 (also Bauddh)
Borobudur temple 39
Brahma 27, 250, as Mara 159, 195, colour
363, vahana 363, dhyana 363, described
3o3, images 363, parasol bearer 246,
severed head of 162
Bianniavawana Parana 18
Brahmadanda Lokesvara, described 397
Brahmananda 190
Brahmas, Four, 21
Brhaspati, 368, colour, 368, symbol 368,
vahana 368, dhyana 368, described 368
Bronzes 5
Bronze of Vajratara 240, in the form
of a lotus 240
Buddha 20, as god 32, first image of 5,
images of 31, 32
Buddha's life, scenes from 5
Buddha Sakyasimha 48
Buddhas 20
Buddhahood 8, 29
Buddhadakini 163, 218, Sakti of Maha-
maya 164, described 164
Buddhakapaia, 159, colour 159, Sakti 159,
sadhana 159, dhyana 159, described
160, mandala of, 160, images 160
BuddhabodhiprabhaVas'ita 332, colour 332,
symbol 332, dhyana 332, described 332
Buddhism, destruction of 39
Buddhist esoterism 10
Buddhist god of love 115
446
BUDDHIST ICONOGRAPHY
Buddhist Iconography 384, scope 384,
purpose 384, value 384
Buddhist monasteries 4
Buddhist pantheon 384, in Guhyasamaja
384, first deifications 384, Kulas and
Saktis 384
Buddhist Tantra 9
Buddhist universe 48
Budha (planet), 368, colour 368, symbol
368, dhyana 368, described 368, images
368
Buffalo head 166
Buffalo vahana 166, 167, 168
C
Caitya K), 211, 215, residence of MaricI
211, residence of Usmsavijaya 215,
special symbol of Maitreya 80
Cakra (discus) as family symbol 54
Cakiasambara Tantra 217
Calcutta, Indian Museum at, 6, 38,]
Camunda 365, colour 365, vahana 365,
dhyana 365, described 365, images 365
Candall 312, colour 312, symbol 312,
dhyana 312, described 312, images 312
Candarosana 154, 155, 255, colour 154,
names 154, sadhana 154, dhyana 154,
155, symbols 154, Sakti 155, worship
155 images 155
Candamaharosana see Candarosana
Candamahawsana Tantra 4, 155
Candavajrapani 236
Candesvan, companion of Mahakala,
347, colour 347, symbol 347, direction
347, described 347
Candra (planet), 367, colour 367, symbol
367, vahana 367, dhyana 367, described
367, images 367
Candraprabha Bodhisattva, 89, 120, 121,
colour 89, symbol 89, dhyana 89, 90
described 89, 90, images 90
Candraprabha Lokesvara, described, 398
Capetadana mudra 245
Carcika, companion of Mahakala, 347,
colour 347, symbol 347, direction 347,
described 347
Caturbhuja Sitatara (white), 308, special
features 308
Catur-Maharfijikas, 35
Caurl, 310, colour 310, symbol 310,
dhyana 310, described 310, images 310
Cave Temples of Western India, 39
Chariot of MaricI, 211
Chhinnamasta 1, 17, 247, Hindu goddess
247, same as Vajrayogini 247
Chhatrosnisa, 302, colour 302, symbol
302, direction 302, dhyana 302, des-
cribed 302, images 302
Chinese, 1
Chiromancy, 8
Chittagong 39
Cintamani Datta, author, 123
Cintamani family, 32, 45
Cintamani Lokesvara, described 430
Citrakaras (of Nepal), 7
Citrasena 159, described 160, image 160
Cittadhatu Lokesvara, described, 430
Cittava^ita, 329, colour 329, symbol 329,
dhyana 329, described 329, images 329
Cittavisuddhiprakarana 47
Clark, (Professor Walter Eugene), 3
Collective Deities, 251, their nature 251
Colour, significance of 389, connection with
elements 390, malefic and benefit 390
Comilla 38
Companions, three of Marici, 213, un-
named 213, described 213, colour 213,
form 213
Compassion (Karuna), 21
Confession of sins, 20
Constellations, twenty-eight, 381, deified
381, named 381f, described 381f
Coomaraswamy {Dr. A. K.) 1, 31
Csoma de Koros (Alexander), 43
Cults, Buddhist, 387
Cunda 35, 220, spelling of the name 220,
deified Dharini 220, mantra of 220,
colour 151, 219, symbol 219, 223, sire
219f, forms 219, as a minor deity 221 ,
222, place in the mandala, 222, as
consort of Takkiraja 222, dhyana 221,
222, forms 222 ; twenty-six armed 222,
described 151, 221, 223, symbols 223,
mudra 223, miniature 223, temple in
Pattikera 223, antiquity, 221, sadhana
221, images 221, 223, 224, Baroda
image 224, symbols 224; Bodh-Gaya
image 224
INDEX OF WORDS
44,7
Cunda Dharinl 220, 221, 340, colour 340,
symbol 340, dhyana 340, described 340,
images 340
Cunda mairra 221
Cunda murira 223n
D
Dacca, o, museum 33, 156
Dakini, 218, described 218, 321, form 321,
dhyana 321, images 321, 322, Vajra-
yoginl 217
Dakini group, four, 321, general descrip*
tion 321, list of deities, 321, appear-
ance 321, form 321, images 321
Damara mudra 183
Danaparamita 324, colour 324, symbol 324,
dhyana 324, described 325, images 325
Dance deities, four, 312, their nature 312,
their description, 312, their images 312
Dalabhuja&ita Marlcl, 213, colour 213,
sadhana 213, described 213, three
attendants 213
DasabHUmika-SMtra, 28
Dates or Tithis, 382, deiiied 382, images
382
Death, god of, 166
Deification, process of 385, specialised
study 3*85, epidemic of 31, of books
220
Deities, number of 34, forms of 47, in*
crease in number 392, objects as 392,
literature as 392, philosophical concepts
as 392, abstract ideas as 392, desires at*
392, interchange of, 1
Deity, evolution of 25, nature of 24,
visualisation of 24, the mantra person
29, realisation of 27, single 30, conden-
sation of words, 30, manifestation of
Sunya 391, no real existence 391, only
an idea 391, Sunya in essence 391,
Sunya manifests as 391
Dependent origination 25
Devadevata Lokesvara, described 428
Devaputra Mara 159
Dhanada 179
Dhanada Tara, 231, colour 231, vahana
231, companions 231, mantra 231,
dhyana 231, described 231, images 23 1
green 307, special features 307
Dharana 26
Dharani (also Dharinl) 10, general des-
cription 338n, in sadhanas, 337n, of
Avalokitesvara 29, Vajragandharl 236,
Dharinis, twelve, 337, their number 337,
deification 337, nature 337, description
337, character 220, power 220, enu-
merated 220, names of 220, sire of
220
Dharma 10, 20, goddefas 32, Hindu 6
Dharmacakra Lokesvara, described 429
Dharmacakra Manjusri 118n
Dharmadhatu Lokesvara, described 430
Dharmadhatu Vaglsvara 103, colour 103,
described 103f, dhyana 103, forms 103f,
images 104, mandala 104, called Manju-
ghosa 104, principal deity of the man-
dala 104
Dharmakara 101
Dharmakaya 210
Dharmaklrti, 12
Dharmakosasahgiaha 2, 205, 206, Sukhavuti
Lokesvara described 1 42
Dharmamegha Bhumi 336, colour 336,
symbol 336, dhyana 336, described 337,
images 337
Dharma Pratisamvit 342, colour 342,
dhyana 342, symbol 342, described 342,
images 342
Dharma Vasita 332, colour 332, symbol
332, dhyana 332, described 332, images
332
Dhupa 256, and others in Lokanatha Man-
dala 131
Dhupatara 241, dhyana 241, described
241
Dhvajagrakeyura 201, forms 201, images
201, form (i) described 202, three-faced
201, colour 201, dhyana 201 ; /oim
(n) described 202, four-faced 202 ;
images 202
Dhvajosnisa 301, colour 301, symbol 301,
direction 301, dhyana 301, described
301, images 301
Dhyana 21, 26, essential features 386, devi-
ations from 386, modified under local
conditions 386
Dhyanaparamita 326, colour 326, symbol
326, dhyana 326, described 326, images
326
448
BUDDHIST ICONOGRAPHY
Dhyani Bodhisattvas, illustrations of, 5 In
Dhyani Buddhas 44, 48, origin 45, product
of Tantric sadhana 35
Dikpalas, eight 352, their nature 352, their
number 352, Hindu lords of quarters
251
Dikshit, Mr. K. N 126
Dimbha, another name of Ucchusma 179,
239
Dinajpur 38
Dipa 256. 318, colour 318, symbol 318,
dhyana 318, described 318, images 318
Dipatara 241, dhyana 241, described 241
Direction, Ten gods of 25 1 , their nature
251, general features 251, in Tantric
liteiature 251, their forms 252f; six
goddesses of 256, their nature 256,
special features 256, their forms 297f ;
Hindu gods of, 25 1
Disciples, qualifications of 94
Diseases in human form 233
Divination 8
Divine Bodhisattvas 47
Dogmas 8
Dogmatic Form of AvalokitesVara (?) 207
Dombi 312, colour 312, symbol 312,
dhyana 312, described 312 images 312
Door goddesses, four 316, deification 316,
characteristics 316, description 316f
Dragons 54
Durangama Bhumi, 335, colour 335, sym-
bol 335, dhyana 335, described 336,
images 336
Durbar Library, Nepal 3, 4
Durgatiparisodhana 78, later name of
Buddha 76, colour 78, mudra 78,
dhyana 78, described 78, images 78
Durgottarim Tara, 307, green 307, special
features 307
Durjaya 160, direction 160, form 160
Dvaradharu 317
Dvaratalakadhara 316
Dvesa family 32, 45
Dvesarati, queen of Aksobhya 46
E
Earliest sadhana 35
Ekagrata (concentration), 26
Ekajata 151, direction 15 1, colour 151,
described 151, mantra of 29, power of
193, sadhanas 193, dhyana 193, des-
cribed 193, blue 309, special features
309, images 194, 229, forms of 194,
two-armed described 194, /our-armed
described 194, eight-armed described
194, as a minor deity 227, as compani-
on 228, dhyana 228, described 228
Ellora 5, 39, cave temples at, 77
Epidemics 196
Evans- Wentz (Dr. W. Y.), 50, 205, 215,
225
Excavations 5
Excrescence, of Vajravarahi 217
Extraordinary worship 21
F
Fa-Hien 35, mentions Manjus'ri 100
Fever, Hindu god of, 233
Fire-flies, sign of 26
First image of Buddha 5
Five cosmic elements 32
Five Dhvani Buddhas 11, 15, 32, 38, 42,
names 47, colour 47, symbols 47,
mudras 47
Five families of deities, 47
Five Kulas- 32
Five Mudras 48
Five primordial cosmic forces 48
Five senses 47
Five Skandhas (elements), 32, 48
Flame of fire (Adibuddha), 43
Foucher (Professor A.) 1, 2, 5, 31
Four Maras 195
Four Pithas (sacred spots), 15
Four Pratisamvits (logical analysis), 342
Freer Gallery of art, 221n
Friendship (maitri), 21
Future Buddha 93
G
Qaekwad's Oriental Series, 2, 3, 19
Gaganaganja Bodhisattva, 35, 86, symbol
86, dhyana 86, described 86, 87 images
87 ; in Sadhanamala 87, in the Lokana
tha sadhna 131, colour 131, described
131
Gaganaganja Lokesvara, described 399
Ganapati, 348, 365, symbol 348 365, vaha-
na 348, 365, dhyana 348, 365, described
348 365, forms 366, trampled by Apara-
jita 246
INDEX OF WORDS
449
GanapatihrdayS 349, symbol 349, dhyana
349, described 349, images 349
Ganapati Sastri, 14
Gandhahasti Bodhisattva 95, colour 95,
symbol 95, dhyana 95, described 95,
images 96
Gandhara School of Art, 5, 32, 35
Ganes*a 197, as Vighna 197, figure of 180,
trampled 197, presence of 388-9, humi-
liating role 389, often trampled under
feet, 389 ; see Ganapati
Gandha 256
Gandhatara 241, dhyana 241, described
241
Gmdharva king 381, his name 381, des-
cribed 381
Gandharvas, lords of, 379
Garuda vahana 136
Garudasya319
Gatha style 14
GaurL Hindu goddess 184
Gaurl 310, colour 310, symbol 310, dhyana
310, described 310, images 310
Gaurl group, eight 309, listed 309, describ-
ed 309f
Gaurltara 151, 222, colour 151, described
151
Gautama 77
Gaya 38, 35
Germ-syllable (Bija) 25
Getty, Miss Alice 1,166,207,209
Ghantapani Bodhisattva 76, colour 76,
Symbol 76, image 76, described 76
Ghasmari 311, colour 311, symbol 311,
dhyana 311, described 311, images 311
Ghoracandi, 163, colour 163, described
163
Glta 313, colour 313, symbol 313, dhyana
313, described 313, images 313
Godhead 23
God-realisation 17, 25
Gods, male and female, 390, Heruka and
Nairatma 390
Graeco Buddhists of Gandhara 31
Grahamatrka 224, mudra 224, dhyana
224, symbols 225, described 225, images
225
Grdhrasya 319
Grunwedel, Professor Albert, 1
Gryphons 54
Gurdians of gates, four 154
Quhyasamaja, 10, (also &risamaja), 12, 13n,
15, 15n, 24, 25, 25n, 26, 32, 34, 41, 45,
53, 73, 100, 251, Cunda in 221, teach-
ings of 385, dormant for 300 years,
385
Qukyctsiddhi, 12
Qunakarandavyuha, 124
H
Halahala (Lokesvara), 132, colour 132,
companion 132, sadhana 132, images
132-133, dhyana 132, described 133,
Sakti described 133, Lokesvara describ-
ed 394
Handwritten MSS, 5
Hara 212
Hari 212, meaning of the word, 136
Harihara Lokesvara, described 429
Harihariharivahana 136, colour 136, speci-
al vahana 136, images in Nepal 136,
dhyana 136, described 136, images 137,
Lokelvara, described 394
Hariti35
Harivahana Lokesvara, described 429
Hathayoga 8, 24, 26
Hayagriva 128, 129, 185, colour 129, des-
cribed 129, symbol 129 ; another form:
colour 165, forms 165, sadhana 165,
dhyana 165, described 165, image 165 ;
as companion of Lokanatha 131, des-
cribed 131, symbol 131, mudra 131
Hayagriva (Hindu) 233, god of fever 233,
image 233
Hayagriva Lokesvara, described 394
Hayasya 319, colour 319, symbol 319,
dhyana 319, described 319
Heruka 6, 39, 154, 155, 159, 208, 248,
colour 155, symbol 155, sadhana 155,
forms 155, worship 156, dhyana 156,
described 156, images 156, male form
of Sunya 390
HerukI 163, colour 163, described 163
. Heruka Tantra 4, 155, 217, 248
Herukavajra 254
57
450
BUDDHIST ICONOGRAPHY
Hevajra 154, 163, forms of 157, two-arm-
ed (i) 157, colour 157, PrajriS 157, dhya-
na 157, described 157, sadhana 157;
four-armed (n) 157, colour 157, dhyana
157, Prajfia 157, described 157, 15*,
sadhana 158, ; six-armed (tii) 158,
colour 158, Prajna 158, dhyana 158,
described 158 ; sixteen-armed (iv) 158,
colour 158, Prajna 158, dhyana 158,
described 159, vahana 159, symbols
159, images 159
Hevajra TantM, 4
Hinayana 8
Hlnayanists 1 1
Hindus and Buddhists 187
Hinduizing, method of 190
Hindu pantheon 19
Hindus 1
Hindu gods 158, 344, their parental Dhya-
ni Buddha 344, position in the Mandala
344, their Kulas 344, humiliated 389,
trampled under feet 389, animosity
against 389, superiority over 389
Hindu gods in Vajrayana 344f , names 344,
number 344, nature 344, status 344,
important deities 344
Hiranyagarbha 212
History of Nepal of Wright, 51
Hiuen Thsang 12, 80, mentions Manju^ri
100
Hodgson, B. 2
Holy books 5
Horoscopy 8
Horse-neck 165
I
Icon 25, 385, details 388, composition 388,
presence of Dhyani Buddhas 388, essen-
tial features 388, non-essential features
388
Identification 30, of images 386, Dhyani
Buddhas important 386, difficulties in
way of, 386, necessary figures 387,
unnecessary figures 387, discrepancies
in 387, solution of problems 387
Illustrations (of Peiping statuettes) 4
Indian Museum, Calcutta, 2
Indifference (Upeksa), 21
Indonesia 39
Indra 1, 35, 186, Mara 195, colour 352.
vahana 352, direction 352, dhyana 352,
described 352, images 352, as vahana
250
Indrabhuti 12, 16, 35, Siddhacarya 150
IndranI 186
Infinite Spirit 25
Interchange of deities 1
Involution, process of 31
Irsyarati, queen of Ratnasambhava 46
Is'ana 361, colour 361, vahana 361, direc-
tion 361, dhyana 361, described 362
I-Tsing 12, 35, mentions Manjulri 100
J
Jagaddala 6, 41
Jainas 1
Jaiiniprabha Bodhisattvn 90, colour 90,
symbol 90, dhyana 90 described 90,
images 90
Jalinikumara 121
Jaliniprabha Lokesvara, described 398
Jambhala 17, 35, 202, 244, a Yaksa 178,
symbol 237, recognition 237, forms
23 7f ; single 238, images 238, described
238, variety 178, antiquity 178, sire 178,
image 39, 178, sadhana 178, dhyana
178, described 178, Yab-yum 238,
colour 238, symbol 238, Prajna 238,
described 238, companion 238 ; Man-
dala 238, described 239, images 239
Jangull 1, Dharini deity 220 ; form (i) 191,
colour 191, symbol 191, sadhana 191,
dhyana 191, origin 191, forms of 191,
power 191, described 192, images 191 ;
form (u) 192, colour 192, mudra 192,
symbol 192, described 192 ; form (in)
192, vahana 192, colour 192, sadhana
192, dhyana 192, described 192 ; white
308, special features 308 ; green 307,
special features 307 ; yellow 309, special
features 309 ; in Hindu Tantras 193
Jangull Dharini 339, colour 339, symbol
339, dhyana 339, described 339f, images
340
Japanese 1
Jar of consecration 91
Jataka stories* scenes from 5
JatSmuku$a LokesVara, described 395
INDEX OF WORDS
Java 5, image of irajnaparamita found in
198
Javanese Art 39
Jaya 160, direction 160, form 160
Jayakara 186, 378, colour 378, dhyana 378,
described 379
Jayatara 151, colour 151, described 151
Jewel family of Ratnasambhava 48
Jinajik 45
Jivatman 27
Jnanadakini, Sakti of Yogambara 186, 204,
colour 204, dhyana 204, described 204,
images 204, Mandala 204
Jnanadhatu Lokesvara, described 398
Jnanaketu Bodhisattva 963 colour 96,
symbol 96, dhyana 96, described 96,
images %
Jnanaparamita 328, colour 328, symbol
328, dhyana 328, described 328, images
328
Jnanapradipa, Samadhi 45
Jnanasiddhi 12, 16,
Jnanavalita 331 colour 331, symbol 331,
dhyana 331, described 331, images 331
Joyousness (Mudita), 21
K
Kailasa, mount 379
Kakasya319
Kalacakra, 186, colour 186, form 187,
dhyana 187, described 187f, images
188, blue colour 188, an attempt at
unification 389
Kalacakra Tantia 42, 187
Kaladuti 347, companion of Mahakala 347,
colour 347, symbol 347, direction 347,
described 347
Kalaratn 161, 162, 218
Kalihrada 101
Kalika, companion of Mahakala, 347,
colour 347, symbols 347, direction 347,
described 347
Kamadeva, as vahana 149
Kamakhya 16, 17
Kamalacandra Lokesvara, described 429
Kamalaslla 15
Kamamialu 152, symbol of ShrkutI 129
Kamandalu Lokesvara, described 395
KaminI 160, direction 160, form 160
Kanakatnuni, Mortal Buddha 76
Kanaka-Prajnaparamita 199, colour 199,
mudra 199, symbol 199, described 199,
differentiated 199, images 199
Kapalini 160, direction 160, form 160
Kapata 317, colour 31 7, symbol 317, dhy5-
na 317, described 3 17, images 317
Karana pose 165
KaTandai'^u/ia 5, 11, 124, 143, sadhana
from 126
Karandavyuha Lokesvara, described 398
KarinI 160, direction 160, form 160
Karma family 56
Karmakul! (Amoghasiddhi), 49
Karmavasita 330, colour 330, symbol 330,
dhyana 330, described 330, images 330
Karnatara 151, 222 colour 151, described
151
Karttikeya, 364, colour 364, vahana 364,
symbol 364, dhyana 364, described 364,
images 364
Karuna (compassion), 9, 28, 30, 43
Kasia 38
Kasyapa, Mortal Buddha 76, 80
Kathe Simbhu, stupa of, 32
Kathmandu, monasteries in, 7, 41
Kaulas 46
Kauberi 160, direction 160, form 160
Kern (H.) 12, 31n
Kes'im 120, 121
Ketu 378, colour 378, symbol 378, dhyana
378, described 378, images 378
Khadiravani Tara 226, colour 226, symbol
226, companions 226, described 227,
images 227, also called Syamatara 227,
preen 307, special features 307, images
39
Khagarbha (same as Akalagarbha) 86,
dhyana 86, in the Lokanatha Mandala
131, colour 131, symbol 131, described
131
Kharuiaroha 218, described 218, another
form 321, dhyana 321, described 321
Kb asarpana 128, sadhana 128, colour 128,
symbol 128, companions 128, differenti-
ated 128, dhyana 128f, images 39, 130,
described 129
Khasarpana Lokes*vara, described 396
Khiching 6
Kinnara king 360, dhySna 380, described
380, symbol 380
452
BUDDHIST ICONOGRAPHY
Kinnaras, lords of, 379
Kles'a Mara (Visnu) 159
Knowledge, essence of 23
Kotbar (sword-cut) 101
Krakucchanda, Mortal Buddha 76
Krodha deities 252
Krsnacaryya, Tantric author 152
KrsnSnanda Agamavagis'a 1 90
Krsnayamari 167 177,252 varieties 167,
sadhanas 167, forms 167 ; form «i) two-
armed 168, colour 168, symbol 168,
dhyana 168, described 168 ; form (u)
four-armed 168, colour 168, companion
168, dhyana 168, described 168, 177 ;
form (in) six-armed 177, sadhana 177,
dhyana 177, described 177f, images
178
Krtanjali Lokelvara, described 430
Kriyasamuccaya 4
Ksantiparamita 325, colour 325, symbol
325, dhyana 325, described 325, images
325
Ksepana mudra 207
Ksitigarbha 35, Bodhisattva 65, colour 85,
symbol 85, dhyana 85, described 85,
images 85, in the Lokanatha Mandala
131, colour 131, symbols 131, des-
cribed 131
Ksitigarbha Lokes*vara, described 399
Kubera 35, the greatest Yaksa 379, colour
361, vahana 361, direction 361, dhyana
361, described 361, images 361, vahana
of Ucchusma 239
Kukkurlpada, Mahasiddha 163
Kukku{apada, mount 80
Kulacara 47
Kulas (families) 11, 42, 46, five 44
KuleJa 32, 42
Kulika (snake) 148
KulilesVarl, companion of Mahakala 347,
colour 347, symbol 347, direction 347
described 347
Kunci 316, colour 316, symbol 316, dhyana
316, described 316, images 316
Kuncikadhara 316
Kurkihar 5, 35, 38
Kurukulla 16, 147, 236, varieties 147,
function 147, images 147, mantra 147 ;
red 309, special features 309 ; white
308, special features 308
Kurukulla mountain 149
Kva Vahal (Pattan, Nepal) 137, 138, images
of Rakta-Lokesvara in 137
Laksml 1
Laksminkara, daughter of Indrabhuti, 150
Lalitapattan (also Pat an), monasteries in,
41
Lama 218, 321, form 321, dhyana 321, des-
cribed 218, 321, images 321, 322
Lamaist pantheon 3
Lasya 313, colour 313, symbol 313, dhyana
313, described 313, images 313
Light (sign) 26
Light goddesses, four, 317, definition of
light 317, general character 317, appear-
ance 31 7
Locana, Buddhasakti 54, colour 54» symbol
54, family 54, Sakti of Vairocana 54,
dhyana 55, described 55, images 55
Lokanatha 130, colour 130, symbol 130,
mudra 1 30, sadhana 130, dhyana 130,
described 130, Mandala 130, compani-
ons 130, Asana in images 132, images
131, differentiated 128
Lokanatha RaktaryyavalokitesVara, des-
cribed 396
LokesVara, form with eleven heads, 125n,
Bodhisattva 78, companion of Vajra*
sana 78, dhyana 77, described 78,
images 78
Lokottara 31
Lord Buddha 8, 191
Lords of families (Kulcsas) 32
Lotus family, of Amitabha 48
Lotus, symbol of Amitabha 48, Pandara
Padmapani 48
Luipa (Siddhacaryya), 12
M
Machhandar Vahal, Kathmandu 6, 124,
144
Madana (also Ananga), Hindu god of love
115
Madhukara 186, 379, colour 379, symbol
INDEX OF WORDS
453
379, vahana 379, dhyana 379, described
379
Madhyamaka 8, 9
Magadha 5, school of art 35, 38
Magical practices 9, and Buddha 9, 10
Maha-Abhayakari LokesVara, described
400
Maha-Abhayaphalada Lokesvara, described
400
Mahabala 145, colour 145, sadhana 145,
dhyana 145, described 145, images 145 ;
another form 255, colour 255, direction
255, dhyana 255, described 255, Sakti
255, images 255
Mahacandarosana 154 ; see Candarosana
Mahacandrabimba Lokesvara, described
40J
Mahaclna 189
Mahaclna Tantra 190
MahlcinaTara 1, 248, vahana 189, sadha-
na 189, dhyana 189, origin 189, des-
cribed 190. compared with Hindu fara
190, images 191, blue 309, special
features 309
Mahadeva 191
Mahakala 255, 347, nature 347, function
347, forms 345 ; form (i) two-armed,
345, colour 345, symbols 345, dhyana
345, described 345, images 345; form (u)
four-armed 346, colour 346, described
346 ; form (iii) six-armed 346, colour
346, symbols 346, described 346 ; form
(iv) sixteen armed 346, colour 346, sym-
bols 346, dhyana 346, described 346,
companions 347 ; Hindu god 344f,
colour 366, symbol 366, dhyana 366,
described 366. images 366
Mahakalavajra, image 255u
Mahamanjubhuta LokesVara, described
428
Mahamanjudatta I okelvara, described
400
MahSmantranusarin! 200, Raksa goddess,
200, colour 200, sire 200, dhyana 200,
described 200, images 200, another form
in Mandala 304, colour 304, symbol
304, dhyana 304, described 304, images
304
MahamayS 164, Described 164, Mandala of
164, dhyana 164, colour 163, Prajna
163, sadhana 163, dhyana 163, describ-
ed 163, images 165 , as companion of
Mahakala 347, colour 347, weapons
347, direction 347, described 347
Mahamayur! 234, RaksS goddess 234,
colour 234, dhyana 234, described 234,
images 234 ; another form 305, colour
305, symbol 305, dhyana 305, described
306, forms 306, images 306, as com-
panion 228, 231, 232, dhyana 228, 232,
described 228, 232, images 229
Mahapadma (snake) 148
Mahapatala LokesVara, described 400
Mahapratisora 243, Raksa goddess 243,
forms of 243, colour 303, symbol
303, dhyana 303, described 303, images
303 ; another form 244, dhyana 244,
described 244, images 39, 244
Mahapratyangira (also Pratyangira), 200,
sadhana 200, dhyana 200, described
201, images 201
Maharajallla ManjusrI 116, 117n
Maharatnakirti Lokes*vara, described 399
Maharatnakula LokesVara, described 400
Mahasadhana 25
Mahasahasrabhuja Lokesvara, described
399
Mahasahasrapramardatt! 217, Raksa
goddess 217, sadhana 216, colour 216,
dhyana 216, described 217, images 217 ;
another foim 303, colour 303, symbol
303, dhyana 303, described 303, images
303
Mahasahasrasuryya Lokesvara, described
400
Mahasanghikas 13, 14, 143
Mahas'ankhanatha LokesVara, described
400
Mahasarasvat! 349, colour 349, symbol
349, dhyana 349, described 350, com-
panions 350, images 350
Mahasiddha, Kukkurlpada 163
Mahasiddhas 12, 19, 35, 41, 137
MahaTitavat! 147, Raksa goddess 153,
colour 153, sadhana 153, dhyana 153,
• described 153, images 153 , ano-hcr
fotm 305, colour 305, symbol 305,
dhyana 305, described 305, forms 305,
images 305
Mahalrl TSra 39, 227, colour 227, mudri
454
BUDDHIST ICONOGRAPHY
227, companions 227, sSdhana 227,
dhyana 227, described 227, images 229,
miniatures 229, images of companions
229, companions described 228, mantra
of 228, Rajallla asana 226, goddess of
wealth 228, green 307
Mahastbamaprapta Bodhisattva 89, colour
89, symbol 89, dhyana 89, described 89,
images 89
Mahasthamaprapta LokesVara, described
431
Mahasukha theory 9, 11
Mahasuryyabimba LokesVara, described
400
Mahnttari Tara 307, green 307, special
features 307
Mahavajradhatu Lokesvara. described 428
Mahavajradhrk Lokesvara, described 428
Mahavajranatha Lokesvara, described 428
Mahavajrapani Lokesvara, described 428
Mahavajrasattva Lokesvara, described 397
Mahavasttt Avadana 143
Mahavidya goddesses, ten 189
Mahavisvasuddha Lokesvara, described
428
Mahay an a 8, two kinds 9, deities in 31
Mahnyana scripture (Piajnaparamita) 197
Mahayanasutra 15
Maha^anaiutTtilunkara 8
Mahayanists 11
Mahayas*a 160, direction 160, form 160
Mahesvara (Mara) 159, 364, colour 364,
as vahana 364, dhyana 364 described
364, images 364
Mahoba (Mahotsavapura), 132
Mahodadhi 160, direction 160, form 160
Maitreya 13, 35, 38, 77, as Future Buddha
80, described 80, colour 80, symbol 80,
stupa on the crown 80, image in Udya-
na 80, heads the list of Bodhisattvas
82 , ftoddhisattva form 93» colour 93,
symbol 93, dhyana 94, described
94, images 94, companion of Vajra-
sana 78, dhyana 77, described 78,
images 78 , as a minor god 80, dhyana
81, described 81, images 81 ; in the
Lokanatha Mandela 131, colour 131,
symbol 131, described 131
Mala (also Malya) 313, colour313, symbol
313, dhyana 313, described 313, images
313
Malya see Mala
Mamaki 52, family 52, consort of Akso*
bhya 52, dhyana 52, described 52,
images 52
Manasa 1, 193, (Hindu goddess)
Mandalas 2, 3, 9
Mangala (planet) 368, colour 368, symbol
368, vahana 368, dhyana 368, described
368
Manidhara 125, described 126
Manipadma Lokesvara, described 396
Manjughosa 35, 113, Hindu 6, form of
Manjulri 104, colour 104, mudra 104,
symbol 104, vahana 104, images 113,
dhyana 113, described 113, asana 113,
sire 113 ; in the Lokanatha sadhana
131, colour 131, symbols 131, described
131
Manjukumara 119, colour 119, vahana 119,
dhyana 120, described 120, images 120
Manjunatha Lokesvara, described 430
Maniupattana 101
Manjusri 35, 38, 43, god of learning 95,
117n, 166, 178, place in the pantheon
100, worship of 100, time of introduc-
tion 100, details of life 100, exploits
lOOf, images 100, an engineer and archi-
tect 101, spiritual sire 102, kula or
family 102, sadhanas of 102, various
forms 102, simplest form 102, com-
panions 102, images 95, 102, with
Hindu gods 102
Manjusri Bodhisattva 94, colour 94, sym-
bols 94, dhyana 94, described 94
Manjusr! hill (Nepal) 100
Maftjusrimiilakalpa 10, 14, 15, 32, Cunda in
221
Manjuvajra (fame as Vairocana) 219 ; three
distinct forms 118f; form (i) 118, colour
118, dhyana 118 described 118, images
119 ; form (u) 119, colour 119, dhyana
119, described 119 ; form (m) 119,
colour 119, dhyana 112, described 119,
images 119
Manjuvara 117, colour 117, mudra 117,
symbol 117, vahana 117, dhyana 117,
described 117, companions 117, images
39117,118
Mantras 2, 28, power of 29, repetition of
INDEX OF WORDS
455
29, letters deified 388, examples of dei-
fication 388, of Vajratara 243, appli-
cation of 243
Mantranaya 9,
Manranusarinl see Mahamantranusarini
304
Mantrapurusa 27, 28,
Mantras*astra 9,
Mantrayana 14, 15
Maras, four 159, named 159, 195
Marlcika (sign) 26
MaricI 16, 35, 38, 217, time of invocation
207, connection with the sun-god 207,
chariot of pigs 207, forms 208, sadhana
208, attendants 208, images 208, 209
Astabhuja images 212, as a companion
23 If, dhyana 232, described 232, com-
pared with Vajravarahi 208, 217, Man-
dala 209
Maricipicuva 210, other names 210, sadha-
na 210, dhyana 210, described 210, com-
position of image 210, described 211
Marl Dharinl 339, colour 399, symbols
399, dhyana 399, described 339
Mann! 160, direction 160, form 160
Mar- pa 6
Mathura school of art 5, 32, 35,
Mati 350
Matsyendranatha 6
Mayadevi, dream of 31
Mayajala Tarura 139, 152,
Mayajalakrama 139, colour 139, sadhana
139, dhyana 139, symbols 139, described
139, images 139
Mayajalakrama Lokesvara, described 395
Mayajalakrama Kurukulla 151, colour 151,
sadhana 151, mudra 152, images 152,
described 152
Mayurbhanj 6
Mayurl see Mahamayuri
Medha 350
Medicine 8
Meritorious deeds, result of 21
Mila-ras-pa 6
Miniature paintings 5
Mixed Sanskrit 14
Mlecchas 187
Moha family 32, 45
Moharati, queen of Vairocana 46
MojaghSnjabala (?) Lokesvara, described
394
Momentary consciousness 28
Monastery, Buddhist 16, 41
Mongoose 247, significance 237
Months, twelve 282, deified 389, their
names 382, their deities 382
Mortal Bodhisattvas 79
Mortal Buddhas 76, marks 76, qualities 76,
their Bodhi tree 76, described 77, images
of 77, attitudes 77, with Maitreya 77
Mortal BudJhas'aktis 79, enumerated 79,
named 79
Mrtyu Mara (Mahelvara) 159
Mrtyuvancana Tara 308, white 308 special
features 308
Mudita (Joyousness), 21
Mudras 9, significance of 393
Mukunda 315, colour 315, symbol 315,
dhyana 315, described 315 images 315
Mukundadhara 315
Mulaghosa Vihara 15
Muraja 315, colour 315, symbol 315, des-
cribed 315
Musee Guimet 4
Museums of Eastern India 6
Musical instruments, four 314, deified 314,
description 314
Mysticism 8
N
Nagakesara, flower 94, symbol of Maitreya
94
Nagarjuna 12, 35, rescued Prajnaparamita
197, 220, deified 35, Sidhhapursa 193
Nagas35, 197
Nairatma 204, meaning of the word 204,
female form of Sunya 390, consort
of Heruka 217, vahana 203, colour 203,
character 203, sadhana 203, dhyana 203,
described 203, images 39, 204, direction
160, form 160, and Vajravarahl 203,
and Vajrayogini 248
Nairrti, 362 , colour 362, v&hana 362, direc-
tion 362, dhySna 362, described 362
Naksattras, twenty-eight, 381, their number,
381f, described 381f, their colour 381f,
general description 38 If
Nalanda 5, 6, 35, 41, 43, monastery 42
museum at 38, images 38, Adibuddha
456
BUDDHIST ICONOGRAPHY
theory originated at 38 7n
Namasanglti 206, colour 206, literature
206, Buddha or a Bodhisattva 206,
images 207, dhyana 207, described 207,
and Manjusri 206
Namasanglti Manjusri 115, colour 115,
sadhana 115, sire 115, described 115,
dhyana Il5f, described 116, images 116
and Namasanglti 206
Nanda, half brother of the Buddha 3 1
Nandikes*vara 366, colour 366, symbol 366,
dhyana 366, vahana 366, described 366,
images 366
Naropa 6
Nstha Yogin 6
Navagrahas 213
Nepal 5, 6, 7,39
Nepalese art 39
Nepal Valley, originally a lake 101
Needle 210
Niladanda 254, colour 254, direction 254,
dbyana 254, described 254, Sakti 254,
images 254
Nilakantha, origin of 140, colour 140,
mudra 140, symbol 140, companion 140,
sadhana 140, dhyana 140, described
140, images 141, and Vajniraga 141
Nilakantha LokesVara, described 396
Nimittt s (signs) 26
Nine Dharmas, of Nepal 12
Nirukti Pratisamvit 343, colour 343,
symbol 343, dhyana 343, described 343,
images 343
Nirvana 8, 1 1
Nispannatara 15 1, colour 15 1, described
151,222
NitfwniwyosSt'ali 3, 4, 47, 82, 385, impor-
tance 385, date 385, Cunda in 221
Nityanatha Lokelvara, described 431
Nrtya 314, colour 314, symbol 314, dbyana
314, described 314, images 314
O
Objects, external, 29
Odantapuri 5, 35, 41, Vihara 38
OdiySna Lokelvara 137, same as Rakta-
'lokesvara 137
Odiyana Pandit 180
O<Jiy5na Vajracaryya 181
Omniscience 28, 29
Origin of Yam a and Yamantaka 166
Orissa 5, 39
Ostarakl KO, direction 160, form 160
Padma (snake) 148
Padmadakini 164, colour 164, direction
164, described 164
Padmakul! 49
Padmamunda 238
PadmanarttesVara 133, varieties 133f ; foirn
(i) eighteen-armed 133, sadhana 133,
images 133, symbols J33, attitude 133,
dhyana 133, described 134, companions
134t/brm (11) two-armed 134, colour 134,
mudra 134, symbol 134, vahana 134,
sadhana 134, dhyana 134, described
I34i Mandala of 135, companions 135,
images 135 ; form (m) eight armed 135,
sadhana 135, dhyana 135, described
135
Padmantaka 180, 253, colour 253, direction
253, dhyana 253, described 253, images
253, Sakti 253
Padmantakrt (western gate) 46
Padmapani 35, 51, 88, colour 51, symbol
51, family 51, described 51, images 5 1
Padmapani LokesVara, described 431
Padmasambhava (Guru) 6
Padmavajra 12
PadmavasinI 135, colour 135, symbol 135,
described 135
Padmosmsa 300, colour 300, symbol 300,
direction 300, dhyana 300, described
300, imrges 300
Pala period 19
Paftcaiaksa 5
Pancaraksa group 216, 234, 302
Paneas*ikha 381, name of the Gandharva
king, 381, dhyana 381, described 381,
symbol 381
Pandara (Buddhas*akti) 124, family 50,
Dhyani Buddha 50, symbol 50, colour
50, dhyana 50, described 50, ^images 50
Pfindaravasini 50, Sakti 134
Pantheon 32, 41, Buddhist 385, numerical
strength 385, artistic representation 385
popularity 385, in Buddhist countries
INDEX OF WORDS
457
385, in other religions 385, world pro-
perty 385
ParamasVa 185, 255, sadhana 185, dhyana
185, vahana 185, meaning of 185, des-
cribed 186, images 186, horse-head 186
Paramatman 27
Paramitanaya 9
Paramitas, ten 243, twelve 324, common
features 324, general description 323,
qualities deified 323, their nature 323,
their images 324
Parental Dhyani Buddha 34, 47, 49
Pariskara Valita 329, colour 329, symbol
329, dhyana 329, described 329, images
329
Parnasabarl 17, Dharinl deity 220, images
39, colour 196, vahana 196, power 196,
dhyana 196, described 196, image 197 ;
another form 232, colour 232, vahana
232, mantra 232, called Pis*aci 232,
dhyana 233, described 233, images
233-4, as Dhanni 339, colour 339.
symbol 339, dhyana 339, described 339,
images 339 ; green 307, special features
307 ; yellow 309, special features 309
Parvati 1
Patadharmi 317, colour 317, symbol 317,
dhyana 317, described 317, images 317
Patna 6, museum at 38
Pattan (also Patan and Lalitapatan) 6
Pattikera, remains of lalmai hill 223
Paustika rite 166
Peiping 3
Pestilences, in human form 233
Philosophical deities, 323, deification of
abstract ideas 323 and philosophical
concepts 323, their nature 323, their
images 323
Philosophy 8
Phenomenal world, inherent purity of 21
Pigs, seven for Marlci 211
Pindapatra Lokesvara, described 428
Pis*aci, epithet of Parnalabarl 196
Pita-Prajnaparamita 198, colour 198,
mudra 198, symbol 198, described 198,
images 198
Planrts, nine 367, deified 367, their influ-
ence 367, their forms 367
Poison, blue pill of, 140, of Ni)akan{ha
140
Potalaka 129
Potapada LokesVara, described 395
Powers of the mind 18
Prabhakarakirti, Tantric author 154
Prabhakarl Bhumi 334, colour 334, symbol
334, dhyana 334, described 334, images
334
Pradlpatara 222, colour 151, described
151
Prajna (Sakti) 11, (knowledge) 26, 43, 168,
350, trampled 211, of Raktayamari 167,
colour 167, described 167
Prajnadhrk 45
Prajnantaka 180, 253, colour 253, direction
253, dhyana 253, described 253, images
253, Sakti 253
Prajnantakrt (of south gate), 46
Prajnaparamita 1, 5, 10, 32, 43, origin 197,
worship 197, sadhana 197, forms 1^7,
images 197 ; another form 326, colour
326, symbol 326, dhyana 32b, described
326, images 326 ; Cunda described in
221
Prajnavardhani 341, colour 341, symbol
341, dhyana 341, described 341
Pramudita Bhumi 333, colour 333, symbol
333, dhyana 333, described 334, images
334
Pranabindu 26
Pranayama 26
Pramdhana Paramita 327, colour 327,
symbol 327, dhyana 327, described 327,
images 327
Pranidhana Vasita 331, colour 331, symbol
331, dhyana 331, described 331, images
331
Prasannatara 151, 222, colour 151, describ-
151 ; another form 249, colour 249,
forms 249, sadhana 249, dhyana 249,
described 249f, symbols 250, images
250
PratibhSnakuta 91, colour 91, faymbol 91,
dhyana 91, described 91, images 92
Pratibhanakuta Lokelvara, described 398
Pratibhana Pratiaamvit 343, colour 343,
symbol 343, described 343, images 343
Pratibhasa (revelation) 26
Pratisari, see Mahapratieara 303
Pratisamvits, four 342, meaning 342, deifi-
cation 342, description 342, source 342
58
458
BUDDHIST ICONOGRAPHY
PratyahSra 26
PratyekabuddhaySna 8
Pratyekas 20
Pratyekayana 9
Prayer 21
Preceptor 29
Pretasantarpana LokesVara, described 395
Pretasantarpita 141, colour 141, sadhana
141, dhyana 141, described 142, images
142
Principal Hindu deities, ten 363, their
nature 3t>3, their popularity 363
Prlti (pleasure) 26, 186
Priyadars'ana 160, direction IfcO, form 160
Process of evolution 30
Prognosis 8
Protectresses, five 302, Raksa deities 302,
their nature 302, their images 302, their
popularity 332, their worship 302
Psychic culture 18
Psychic exercises 2, 8, 17, 24
Psychic power 17
Publication, of original MSS, 385
PukkasI 311, colour 311, symbol 311,
dhyana 311, described 311, images
311
Pupala LokesVara, described 396
Purandani 212
Purnagiri 16, 17
Puspa 256
Puspatara 241, dhyana 241, described 241
R
Raga family 32
Ragarati, queen of Amitabha 46
Rahu 207, 211, as vahana 149; colour
377, symbol 377, dhyana 377, described
377, images 377
Raj shah i 6, 38, museum at 38
Rajayoga 26
Rakhaldas (Banerji), 1
Raksa deities* five 302, central 303, second
303, third 304, fourth 305, fifth 305
Rakta-LokesVara, 139, forms of, 139;
form (f) four-armed 138, colour 138,
symbol 138, sadhana 138, dhyana 138,
described 138, companion 138, images
138; /orm(n) two-armed 138, colour
238, symbol 138, mudia 138, sadhana
138, dhyana 138, described 139
Raktayamari 166, 252, colour 166, sadhana
166, worship 166 rites 166, origin of
166, dhyana 167, described 167, images
167
Ras*is, twelve (Twelve Signs of the Zodiac),
383, deified 383, named 383, images
383, nature 383
Rati 186
Ratnadakini 164, colour 164, direction
164, described 164
Ratnadala LokesVara, described 429
Ratnadhrk 45
Ratnaketu (same as Ratnasambhava) 45,
origin qf, 45
Ratnakula 73
Rarnakull (Ratnasambhava) 49
Ratnapani Bodhisattva 74, colour 74,
symbol 74 family 74, sire 74, images
74 ; another form 87, colour 87, symbol
87, dhyana 87, described 87. images 87
Ratnapani Lokcsvara, described 399
Ratnaparamita 324, colour 324, symbol
324, dhyana 324, described 324, images
324
Ratnasambhava Dhyani Buddha 73, colour
73, mudra 73, vahana 73, symbol 73,
family 73, dhyana 73, described 73,
forms 74* images 74, gods emanating
from 237f, their enumeration 237, their
nature 237 ; goddesses emanating from
239, enumerated 239, their nature 239
Ratnolka 318, colour 318, symbol 318,
dhyana 318, described 318, images 318
Ratnolka Dharini 338, colour 338, symbol
338, dhyana 338, described 338
Ratnosnisa 300, colour 300, symbol 300,
direction 300, dhyana 300, described
300, images 300
Ravicandra 14
Rddhivalita 330, colour 330 symbol 330,
dhyana 330, described 331, images 331
Religion 8
Restraint of wrong deeds 20
Royal Asiatic Society of Bengal 3
Rudra 187, vahana 250
Rupa (form)Skandha, 42
Rupa heavens 31
Rupini 218, described 218, form 321,
dhyana 321, described 321, direction
160, form 160
Russian Academy of Sciences 4
INDEX OF WORDS
459
Sabari 311, colour 311, symbol 311, dhyatta
311, described 311, images 311
Sabaripa, (Mahasiddha) 35
Sadaksari group, 127
Sadaksari LokesVara 6, 38, 125, colour
125, mudrl 125, symbols 125, compa-
nions 125, forms 125, dhyana 125, des-
cribed 126, 395, images 126, 39
Sadaksari Mahlvidya 125, forms of 126,
described 126
Sadbhuja Jambhala 179n
Sadbhuja Jambhalavajra 179n
Sadbhuja Sitatara 230, colour 230, dhyana
230, described 230, images 230, sadhana
230 ; white 308, special features 308
Sadhana 2, 18, 24, 25, 27, contents of 19f,
summary of 23, literature 35, com-
posed by eminent lantrics, 386, essen-
tial parts of 386
SadhanamaJa 2, 3, 16, 19, 20, its impor-
tance 385, its date 385
Sadhanasamuccaya 2, 19
SadhumatI Bhumi 336, colour 336, symbol
366, dhyana 366, described 336, images
336
Sadhus 18
Sagaramati Bodhisattva 87, colour 87,
symbol 87, dhyana 87, described 88,
images 88
Sagaramati LokesVara, described 399
Sahasrapramardani see Mahasahasrapra-
mardani
Sahet-Mahet 38
&akra (Mara) 159
Sakti 9
Sakya Bodhisattva 35
Sakya Buddha 35
Sakyabuddha LokesVara, described 397,
430
Sakyasimha (Mortal Buddha) 76
Samadhi 26, visualisation 26
Samantaprabha Bhumi 337, colour 337,
symbol 337, dhyfina 337, described 337,
images 337
Samantabhadra Bodhisattva 55, family 55,
symbol 55, described 55, images 55,
heads a list of Bodhisattvas 62, colour
83, symbol 83, forms 83, dhyana 83, 84
described 83, images 84 » in the Loka-
natha Mandala 131, colour 131, symbol
131, described 131
Samantabhadra Lokesvara, described 399
Samanya seva 25
Samasrami ed : Karandavyuha 1 1
Samatata 16
S a may a family 31, 45
Sambara 160f, varieties 160f, colour 160,
vahana loO, symbols 160, Prajria 160,
dhyana 161, sadhana 161, described
161, forms of 161 , another form lt>l,
colour 161, Sakti 161 dhyana 162,
described 162, images lt>2, 162n
Sambararaja Buddha 162n
Sambhogakaya 210
Sainbodhi 21
Samjna (name) 42
Samksipta Marlci 210, 211, colour 211,
residence 211, described 211, atten-
dants 211
Samskara (conformations) 42
Sanchi 5, 31
Sangha 20 and rules of discipline 13, as
god 32
Sanglti 12, 13, 15, 45, literature 14
Sani (planet), 377, colour 377, symbol 377,
vahana 377 dh>ana 377, described 377
Sankhamunda 238
Sankhanatha Lokesvara, described 430
Sankhapala (snake) 1 48
Sanku (in Nepal) 248
Sannyasms 18
Santamati Lokt'svara, described 430
Santaraksita 9, 15, 28, 41
Santasi Lokesvara, dsecribed 397
Santideva 35, refers to Cunda 220
Santikavidhi 166
Saptaksar 162,Piajna 162, mantra 162, des-
cribed 162f, sadhana 163, forms of 163
Saptasatika Hayagriva 146, colour 146,
symbol 146, special feature 146, sadhana
146, dhyana 146, described 146, images
147
Saptasatika Kalpa 146, 147
Saraha (Siddhacaryya) 12, 16, 35, 137
Sarasiri (?) Lokesvara, described 429
Sarasvat! 1, 349, river deified 349, nature
349, goddess of learning 349, forms of
349
460
BUDDHIST ICONOGRAPHY
Saranath (also Sarnath) 5, 6, 35, museum at
38
SarthavSha Lokelvara, described 428
Sarvabuddhadharmakosavatl 342, colour
342, symbol 342, dhyana 342, described
342
Sarvakarmavaranavisodhani Dharinl 341,
colour 341, symbol 341, dhyana 341,
described 341
Sarvanivaranaviskambhi 92f, colour 92,
symbol 92, dhyana 93, described 93,
images 93
Sarvanivaranaviskambhi Lokesvara, des-
cribed 398
Sarvapayanjaha 97, colour 97, symbol 97,
dhyana 97, described 97, images 97
Sarvarthasiddha 381, name of the Vidya-
dhara king 381, colour 381, dhyana,
381, described 381, symbol 381
Sarva^okatamonirghatamati 92, colour 92,
symbol 92, dhyana 92, described 92,
images 92
Sarva£okatamonirghatamati Lokesvara, des-
cribed 398
Sarvastivada 9
SasVatn 209, same as Vairocana 209
§asVatavajra, Tantric author 190
Sattvaparyanka, meaning of 224
Sautrantika 8, 9
Schools of philosophy (Buddhist) 8
Science 8
Seasons, six 383, deified 383, images 383n
Sects, of Tantrics 44
Sekanirnaya 9
SevS 25
Siddhas 2, 18, 34, classes of 18, Mild 19,
Middling 19, Best 18
Siddhacaryya, Indrabhuti 150
Siddhaikavlra 113, colour 113, mudra 113,
symbol 113, dhy&na 113, described 113,
sire 113, mandala 114, companions
114, images 114, compared to Loka-
r&tha 114
Siddhis 18, 19, 24, eight 18, thirty-four 18
Siddhiharga VajracSryya 345
Sikh!, Mortal Buddha 76
SiJqasamucc0;ya 35, Cunda in 221
&la 21
&lapararoitfi 325, colour 325, symbol 325,
dhyana 325, described 325, images 325
Simbhu (Svayambhunath) 6
Simhanada 35, 127, colour 127, vahana
127, asana 127, symbols 127, images
127, dhyana 127, described 127, images
127f, 39
Simhanada Lokesvara, 117n, described 429
Simhanada LokesVara, described 396
Simhasya 321, colour 321, symbol 321,
dhyana 321, described 321, images 321
Simhavikridita 35
Sirihatta 16, 17
Sirisara (?) Lokesvara, described 429
Sitala, 233, Hindu goddess of small-pox
233, represented 233
Sita-Prajnaparamita 197, colour 197, sym-
bols 197, sadhana 197, dhyana 198, des-
cribed 198
Sitatapatra Aparajita 215, colour 215, sa-
dhana 215, dhyana 216, described 216,
different from Aparajita 216, images 216
Sitatara, Caturbhuja 231, 308, colour 231,
mudra 231, companions 231 dhyana
232, described 232, images 232 , Sad-
bhuja 308
Sitavati, see Mahasltavati 153n. 305
Siva 184 (Mara) 195, vahana ofVajrahun-
kara 181, and Nilakantha 140
Sixteen Boddhisattvas 4
Skandhas 11, cosmic elements 42, (Mara)
Brahma J 59
Small- pox, Hindu goddess of 233, repre-
sented 233
Smoke (sign) 26
Smrti 350
Snake poison 340, Janguli Dharim effective
against 340
Snake vahana 192
Sounds, gross forms of 47
Source books on Buddhism 4
Sravakas 20
Sravakayana 8, 9
Sri 186
£rImadaryy§valokitesVara, described 431
Srivasumukhi 203
Srivasundhara 203
Srhkhala 235, meaning of 235
Srstikanta Lokesvara, described 399
Stael Holstein 3
INDEX OF WORDS
461
Staff 129, symbol of Hayagriva 129
Sthaviras 13
Sthiracakra 122, colour 122, mudra 122,
symbol 122, companion 122, described
122, images 122
String 2K)
Strongholds of Tantric learning 5
Stupa, the Buddhist Universe 32, 48, resi-
dence of Vairocana 53
Subha 160, direction 160, form 160
Subhag§ 160, direction 160, form 160
Subhamekhala 160, direction 160, form 160
Sucimudra 135, of dancing 134
Sudhanakumara 118, 128, 129, described
129, colour 129, symbol 129
Sudurjaya Bhumi 335, colour 335, symbol
335, dhyana 335, described 335, images
335
Sugatas 20
Sugatisandars'ana 141, colour 141, sadhana
141, dhyana 141, described 141, images
141
Sugatisandars'ana Lokelvara, described 396
Sukarasya 320, colour 320, symbol 320,
dhyana 320, described 320
Sukha (happiness) 26
Sukhavati heaven 34, 49
Sukhavati Lokelvsra 142, colour 142, com-
panions 142, dhyana 142, described
142, images 142 ; another form 395 ,
described 395
Sukhavati Vyuha 14, 34, 100, 143,
Sukla Kurukulla 148, colour 148, symbols
148, vahana 148, sadhana 148, dhyana
148, described 148, wears ornaments of
snakes 148
&ukra (planet) 377, colour 377, symbol
377, dhyana 377, described 377
Sumalinl 160, direction 160, form 160
Sumati Dharmi 338, colour 338, dhyana
338, described 338
Sumbha 242, direction 242, colour 299,
symbol 299, dhyana 299, described
299, images 299
Sumbharaja 256, colour 256, direction 256,
dhyana 256- described 256, £akti 256
Sumedhas, deified 35
SundarS 160, direction 160, form 160
Sundarl 160, direction 160, form 160
Sunya 10, 11, 17, 25, 27, 28, 42, meaning
of 22, various functions 392, various
forms 392, as Nine Rasas (sentiments)
392, different manifestations 391, takes
various forms 391, Heruka, male form
of, 320, Nairatma, female form of 390,
and Nairatma 204
Sunyata 30, of all phenomena 22, qualities
of 11
Sunyavada 8, 9, 11
Supernormal powers 23
Superstition 8
Suraksini 160, direction 160, form 160
Surangama Bodhisattva 98, colour 98,
symbol 98, dhyana 98, described 98,
images 98
Suryadhara 319
Suryahasta 318, colour 318, symbol 318,
dhyana 318, described 318, images 318
Suryaprabha 120
Svabha Prajna 167
Svanasya 320, colour 320, symbol 320,
dhyana 320, described 320
Svayambhunatha, stupa of 32
Svayambhu Purana, 43, 100, contains an
account of ManjusrI lOOf
Symbols of the Buddha 31, worship of
31
Taditkara 318, colour 318, symbol 318,
dhyana 318, described 319, images 319
Takkiraja 254 , colour 254, direction 254,
dhyana 254, described 254, Sakti 254,
images 254, Cunda, consort of 222
Taksaka (snake) 148
Talika 316, colour 316, symbol 316, dhylna
316, described 316, images 316
Tamralipti 39
Tandava dance 44, 164
Tangyur 19, 20
Tantras 8, 9, 17, 24, 26, 34, original 13, 14
Tantrarahatya 190
Tantrasara 190
Tantric Buddhism, images of 38
Tantric literature 8
Tantric period 2, 4
Tantric philosophy 2
Tantrics, powers of 18
Tantric practices 10, 24
462
BUDDHIST ICONOGRAPHY
Tantrism 12, godhead in 23, place of origin
15
TSra 1, 17, 20, 23, 38, 128, colour 129, des-
cribed 129, symbol 129 ; another form
135, colour 135, symbol 135, described
135, companion of Lokanatha 131, des
cribed 131, hymbol 131, mudra 131,
epithet of 226 ; buddha'sakti 56, colour
56, symbol 56, family 56, dhyana 56,
described 56, Hindu 189, 190
Taras 307f, of blue colour 309, of Green
colour 307, of Red colour 309, of
White colour 308, of Ywllow colour 308
Taranath 12
Tarinl (same as Tara) 56
Tarodbhava Kurukulla 149, colour 149,
vahana 149, sadhana 149, described 149,
images 149
Tarpana muJra 207
Tathagatas, path of the 20
Tathagatakull (Viarocana) 49
Tathagata Mandaia 45
Tathata Vas*ita 332, colour 332, symbol
332, dhyana 332, described 332, images
332
Tattvaratnavali 9
TiJtt*a*angraha 9, 28
Tejosnisa 301, colour 301, symbol 301,
direction 301, dhyana 301, described
301, images 301
Theories, four 9
Three Jewels, worship of 32, refuge in 20
Tibet(Bhota) 193
Tibetan I
Tiksnosnisa 301, colour 301, symbol 301,
direction 301, dhyana 301, described
303, images 303
Time, essence of 23
Time deities, 382, months deified 382,
djtes deified 382, seasons deified 383, Zo-
diacal Signs deified 383
Tithis (dates) 382, defied 382, images 382
Trailokyaksepa 157
Trailokyaviis'ankara 16, 137, colour 137,
symbol 137, dhyana 137, describ-
ed 137, sadhanas 137, images of 137
Trailokyavijaya 255, same as VajrahunkS-
ra 182, vahana 184, sadhana 184, dhyS-
na 184, described 185, images 185;
mudra 182, 182n, 152
Trayastrims'a heaven 31
Tridandi 152,
Trilokssandarlana LokesVara, described 396
Tripitaka 185
Trisamayaraja 35
Tusita heaven, abode of Maitreya 80
Twelve Bhumis 4, 333
Twelve Paramitas4, 323
Twelve Vas*itas 4, 328
Two Lamaisuc Pantheons 3
U
LJbhayavarahanana (Marlcl), 212, recogni-
tian mark 212, described 212, sadhana
212, colour 212, residence 212
Ucchusma Jambhala 38, 245, image of 180,
vahana 239, described 239, S a math
image 239
Uddiyana 16, 149, same as village Vajra-
yogini 17
Uddiyana Kurukulla 149, colour 149, vaha-
na 149, described 149, images 149/place
of origin 149
Uddij ana LokesVara, 137, same as Rakca*
LokesVara 137
Uddiyana Marici 214, described 214
Ugratara 119, 248
Ulkadhara319
Ulukasya319
Universe 23, goddess identified with 23
University Library, Cambridge 4
Upakelini 120, 121
Upapatti Vasita 330, colour 330, symbol
330, dhyana 330, described 330, images
330
Upasadhana 25
Upaya (means) 25, 26, trampled 211
Upayaparamita 327, colour 327, symbol
327, dhyana 327, described 327, images
327
Upeksa (indifference), 21
Upendra 250, as vahana 250
Usnisa 256, colour 256, direction 256,
dhyana 256, described 256, Sakti 256,
images 256
Usnisa gods, eight 299f, general character
299, appearance 299, sources 299
UsnisavijayS 214, colour 214* recognition
214, residence 214, image 214, caitya on
head 215, sadhana 215, dhyana 215,
described 215, images 215 ; another form
298, colour 298, direction 242, 298,
INDEX OF WORDS
463
dhyana 298, described 298 images 298
Usnisavijaya Dharin! 215, 220, 338, colour
338, symbol 338, dhyana 238, described
338, images 338
Utnauti (?) Lokesvara, described 397
Ucpala Mudra 22
Uctama seva 25, 26
U VahaHNepal)51n
Vadali 211, colour 211, described 211
Vadlrat 122, vahana 122, mudra 122, des-
cribed 122, dhyana 133, images 123
VaglsVara 116, colour 116, vahana 116,
symbol 116, popularity 116, dhyana
116, described 116, images 117
Vahyarthabhanga 8
Vaibhasika 8, 9
Vaipulyasutras 14
Vairocana 45, origin 45, Dhyani Buddha
53, colour 53, mudra 53, vahana 53,
symbol 53, dhyana 53, described 53 ;
eight-armed form 54, dhyana 54, des-
cribed 54, images 54 ; emanations of
206f
VaisVavana 35
Vajra 17, 43, same as Sunya 10, qualities
of 11
Vajrabhairava 347, vahana of Mahakala
347
Vajrabhaskarl 163, colour 163, described
163
Vajrabhlsana 255
Vajracarcika 199, colour 199, vahana 199,
peculiar feature 199, sadhana 199.
dhyana 199, described 199, images 200
VajrScaryyas 34
Vajradakini 163, colour 163f, described
I63f, direction 163f
Vajradanda 952
Vajradhara 42, 43, forms of 44, dhyana 44,
described 44, and VajrahunkSra 181,
images 43f
Vajradharma 125, 139, 142, colour 142,
symbol 142, sadhana 142, described
142, dhyana 143, images 143, as sire of
Lokanatha 130
Vajradharma LokesVara, described 396
Vajradhatu Buddha 54, same as Vairocana
54
Vajradhatu Lokesvara, described 430
Vajradhatu Mandala 99; on Boddhisattvas
99
Vajradhatvilvarl 217, Buddhas*akti 74,
embodiment of highest truth 74,
colour 74i symbol 74, family 74, images
74
VajradhatvisVarl Marlcl 214, forms 214,
sadhana 214, described 2J4, symbols
214
Vajradhrk 45
Vajra family, of Aksobhya 48, 154
Vajragandhari 151, direction 151, colour
151, descubed 151 ; another form 236,
colour 236, dhyana 236 described 236
symbols 23o, dharim 236, images 236
Vajragarbha Bodhisattva 88, colour 88,
symbol 88, dhyana 88 described 88,
images 88
Vajragarbha LokesVara, described 399
Vajraghanta 242, dhyana 242, described
242, direction 242 ; another form 298,
colour 298, direction 298, symbol 298,
dhyana 2P8, described 298, images 298
Vajraghona 2 1 7
Vajrahuhkara 182, form (i) two-armed, 181,
symbols 181, mudra 181, vahana 181,
sadhana 181, dhyana 181, images 182,
rides on Bhairava 182 ; form (n) six-
armed 182, same as Trailokyavijaya 182,
described 182, images 182, compared
with Vajradhara 181
Vajrahunkara Mudra 181, 182n, 184
Vajrahuntika (?) Lokesvara, described 398
VajrajvSlanalarka 183, 254, sadhana 183,
dhyana 183, described 184, vahana 134
Vajrakarmaparamita 328, colour 328,
symbol 328, dhyana 328, described 328,
images 328
Vajrakhanda Lokelvara, described 429
Vajrakula 254
Vajrakuli (Aksobhya) 49
Vajrakundali 253
VajrSmrta 226, colour 226, dhyana 226,
described 226, images 226, yab-yum 226
.Vajrananga (Buddhist god of love), 114,
colour 114, described 114, worship J14,
dhy§na 114, images 115
Vajranatha LokesVara, described 431
Vajrankufi 24 Z» 320, dhyana 242, described
464
BUDDHIST ICONOGRAPHY
242, direction 242 ; another form 297,
colour 297, direction 297, symbol 297,
dhyana 297, described 297, images 297,
in the Lokanatha Mandala 131
Vajrapani 43, family 53, site 53, symbol
53. images 53 ; as Boddhisattva 98.
colour 98, symbol 98, dhyana 98, des-
cribed 98, images 99 ; in the Lokana-
tha Mandala 1 3 1 , colour 131, symbols
131, described 131
Vajrapani Lokesvara, described 431
Vajrapanjara 90
Vajrapasl 242, 320, dhyana 242, described
242, direction 242 ; another form 297,
colour 297, direction 297, symbol 297,
dhyana 297, described 297, images 297
Vajrapatala 256, another name of Sunrbha
Vajraraga family (same as Raga) 45
Vajraraga 102, form of Manjusr! 102,
colour 102, mudra 102, names of 102,
dhyana 103, described 103, images 103
and Nilakantha compared 141
Vajrarati 46, queen of Amoghasiddhi 46
Vajraraudrl 163, colour 163, described 163
Vajrasana 38, Buddha 77, later form of
Gautama 77, dhyana 77, described 77,
images 78
Vajras*arada 351, symbols 351, described
351, images 351, companions 351
Vajrasarasvati 351, described 351, sadhana
352, colour 352, symbols 352, images
352
Vajrasattva 17,38, 43, 48, Sixth Dhyani
Buddha 74 priest of the Five Dhyani
Buddhas 74, shrines of 75, forms of 75,
dhyana 75, described 75, images 75,
worship in secret 75, single form
75, yab-yum form 75, Sakti 75
Vajrasattvadhatu LokesVara, described 429
Vajrasattv5tmik5 75, Sakti of Vajrasattva
75, colour 76, symbol 76, form 76, des-
cribed 76, images 76
Vajrasphota 297f, 320, colour 297, direc-
tion 297, symbol 297, dhyana 297, des-
cribed 298, images 298
Vajraspho{! 242, dhyana 242, described
242, direction 242
Vajras*snkhala 235, colour 235, symbol
235, sadhana 235, dhyana 235, describ-
ed 235, symbol 235, sadhna 235, dhyana
235, described 235, forms 235, images
235, consort of Heruka 217
Vajrasrsta Lokesvara, described 430
Vajratara 240, sire 240, dhyana 240, des-
cribed 240, popularity 240, images 240,
Indian Museum image 240, Mandala
241} companions 241, sadhana 24 1>
mantra 242 images of 243, yellow 308,
special features 308, mandala 240,
origin of ten goddesses 243
Vajravairocani 218, dhyana 247, described
247
Vajravali nama Mandalopayika 4
Vajravarahi 160, Sakti of Sambara 161,
162, Sakti of Saptaksara 162, colour
163, described 163 , another form 218,
companions 218, colour 218, symbol
sadhana 218, dhyana 218, described 218,
mantra 208, special feature 217 connec-
tion with Heruka 217, compared with
Marlci 208, 217, compared with Nairat-
ma 203, compared with Vajrayogini
243
Vajravarahi Tantra 4, 208
Vajravarnani 247, dhyana 247, described
247
Vajravetali 151, direction 151, colour 151,
described 15 1,2 14
Vajravidarani 205, dhyana 205, described
205, images 205
Vajravina Sarasvati 350, colour 350, sym-
bol 350, images 350
Vajrayaksa 254
Vajrayana 2, 7,8,9,11, 14, 31, 34, Bu-
ddhism 38, Pantheon 38, Buddhists 2,
origin of 12, and Yogacara 10, Hindu
gods m 344
Vajrayanists 14
Vajrayogini 1, 16r 17, 149, consort of He-
ruka 21 7 forms of 247 ; form (i) head-
less 247, dhyana 247, described 247
companions 247 ; form (ii) red 248,
colour 248, vahana symbols 248, des-
cribed 248, compared with Nairatma
ann Vajravarahi 248 ; form (lii) yellow
248, colour 248, symbol 248, described
248, consort of Heruka 248, images
249, temple 248
Vajrayogini 137, name of a village in Vik-
rampur 137, identified as Uddyana 137
INDEX OF WORDS
465
Vajrosmsa 299, colour 299, symbol 299,
direction 299, dhyana 299, described
300, images 300, statuette 25 ^ ?53n
Vajrosmsa Lokesvara 398
Vak 6 '
Vams'a 314, colour 314, symbol 314,
dhyana 314, described 314
Vanga 16
Vangiya Sahitya Parisat 122, museum at 38
Varada Tara 337, green 307, special fea-
tures 307
Varadayaka Lokesvara, described 395
Varahamukhl 211, colour 211, described
211
Varahl 364, colour 364, symbol 364, vaha-
na 364, dhyana 364, described 364,
images 364
Varali211,colour211, described 211
Varttali 211, colour 211, described 211
Varttali group 213
Varuna 361, colour 361, vahana 361, direc-
tion 361, dhyana 361, described 361,
images 361
Vasanta 186, 27^, colour 379, symbol 379,
vahana 379, dhyana 379, described 379
Va&ita goddesses, twelve 328, their natuie
328, general description 328, their
forms 328, their images 329
Vasubandhu 12
Vasudhara 38, colour 244, symbol 244,
saJhana 202, 244, dhyana 245, described
245, images 245, foims 245, another form
202, colour 202, symbol 202, antiquity
202, dhyana 202, described 202f, com-
panions 203, images 39, 203
Vasuki (snake) 140, 148
Vasumatisri 203
VasusYi 203
Vasyadhikara Lokesvara, described 395
Vasyatara 230, differented 230, images 230,
Asana 229, symbol 229, colour 229;
green 307, special features 307
Vas*ya Vajravarahi 219, symbols 219,
vahana 219, purposes 219, described
219, images 21 9
Vayu 362, colour 362, vahana 362, direc-
tion 362, dhyana 362, described 363,
images 363
Vedana (sensation) 42
Veil of ignorance 30
Veta1i310, colour 3 10, symbol 310, dhya-
na 310, described 310, images 311
Vibrations (sound) 2S, of word and letter
29
Vicara (thinking) 26
Vidya 24, embodiment of 220
Vidyadharapitaka 14
Vidyadharaking 381
Vidyadharas, lords of 37C>
Vidyapati Lokesvara, described 430
Vidyujjvalaktirah 1^4, colour J94, vahana
194, symbols 194, dhyana 1^4f, describ-
ed 195f
Vighnas 197, meaning of 180, obstacle —
name given to Gane^a 3H9
Vighnantaka IK), sadhana 180, dhyana 180,
origin 180, described 181, images 18] ;
another /Orm 253f, colour 2^3, direction
253, dhyana 253, described 254, Sakti
254, images 254
Vighnantakrt, (of the southern gatej 46
Vijnana 1 J , consciousness 42
Vijnanavada 8, ^>, 10, 11,
Vikalaiatri 160, direction 160, form 160
Vikrampur 16, 3«, 137
Vikramasila 6, 41. monastery 3
Vilokim 135, colour 135, symbol 135, des-
cribed 1 35
Vimala Lhumi 334. colour 334, symbol
334, dhyana 334, described 334, images
334
Vimalapxabha 187
Vma 315, colour 315, symbol 315, dhyana
315, described 315, images 315
Vmadhara315
Vipasyi (Mortal Buddha) 76
Virabana 126, attitude of Sadaksari Mahi-
vidya 126
Virman (Citrakara) 7
Viryaparamita 325, colour 325, symbol 325,
dhyana 325, described 325, images 326
Visahari 193, (Hindu) 193
Viskambhin 93, short name of Saravaniva-
ranaviskambhin 93, in the Lokanatha
Mandala 131, colour 131, symbols 131
described 131
59
466
BUDDHIST ICONOGRAPHY
Vismi 363, vahana 363, described 363,
images 363, Mara 159, 195, as vahana
136
Visnucakra LokesVara, described 430
Visnukanta LokesVara, described 430
Visnupani Lokelvara, described 429
VisVabhu (Mortal Buddha) 76
Visvabhuta LokesVara, described 430
VisVadakml 164, colour 164, direction 164,
described 164
Visvahana Lokelvara, described 397
VisVamata 308, white 308, special features
308
VisVapadma 135, colour 135, symbol 135,
described 135
VisVapadmesvarl 135, colour 135, symbol
135, decribed 135
VisVapani Bodhisattva 73, colour 73, sire
73, family 73, described 73, images 73
VisVavajra 135, colour 135, symbol 135,
described 135
VisVavajra Lokesvara, described 429
Visvosmsa 300, colour 300, symbol 300,
direction 300, dhyana 300, described
301, images 301
Vitanadhara 317
Vitarka (cogitation) 26
Vogel (J Pn.) 35n
Vrsnacana (?) LokesVara, described 397
Yaksims 238, eight, enumerated 238
Yama 35, origin of 166, form 352, colour
352, vahana 352, direction 352, dhyana
352, described 361, images 361
Yamantaka 6, 1 17, 1 18,166, 167, 180, colour
252, direction 252, dhyana 252, describ-
ed 252, Sakti 252, images 252
Yamantakavajra 167
Yamantakrt 46, (of the east gate) 46
Yamadanda LokesVara, described 397
Yamaduti 347, companion of Mahakala
347, colour 347, symbol 347, direction
347, described 347
Yamari 252 (another name of Yamantaka)
Yanas 8, three 9
Yasodhara 79
Yoga 8, 9, 17, 24, and its six limbs 26
Yogacara 8, 9, 28
Yogambara 186, colour 186, variety 186,
Sakti 186, dhyana 18t>, described 186,
images 186, sire 186
Yo?ins 18
Yogini 236, epithet of Vajragandhari 236
Yoginis 247, companions of Vajrayogini
247
Yogimjala Tantra 4
Yuan Chwang 35, see Hiuen 7 h sang
Yugaraddha (yab-yum) 217
Yun -gar's attack on monastery 217
W
Waddell (Mr. L. A.), 1
Walter Eugene Clark, Professor 3
Weapons 392, their significance, 392, vari-
ty of 392, expression of Bodhicitta 392,
explanations of 391, -meanings of 392
Whitney (Mr. W. B.) 221
Will to Enlightenment 25
Zodiacal Signs (Ras*is) 383, number 383,
deified 383, images 383.
Yab-yum 43, form of the deity 30, meaning
and significance 391, 393, Sunya comm-
ingled with KaronS 390, infinite meets
with the infinite 393
Yaksas 35, eight, enumerated 238, lords of
379, kings, eight 380, their names 380,
their symbols 380, their descriptions
380
INDEX OF ILLUSTRATIONS
Acalaketu Lokesvara (Fig 79-A), eye copy
of painting in the Machhandar Vahal,
Kathmandu, 420, described 429
Acata (?) Lokesvara (Fig 28-A), eye copy
of painting in the Machhandar Vahal,
Kathmandu, 407, described 397
Adibuddha Vajradhara (Fig 12), Nepalese
painting in a full-page picture 57, des-
cribed 43
Agni (Fig 237), metal statuette in the Palace
Temple at Peiping 371. described 362
Akasagarbha (Fig 52), Nepalese drawing,
70, described 86
Akasagarbha LokesVara (Fig 49-A) eye
copy of painting in the Machhandai
Vahal, Kathmandu 413, described 399
Aksayamati, Nepalese drawing, 69, des-
cribed 85
Aksayamati (Fig 50), metal statuette in the
Palace Temple at Peiping, 70, described
85
Aksayamati Lokesvara (Fig 51 -A), eye copy
of painting in the Machhandar Vahal,
Kathmandu 413, described 399
Aksobhya Dhyani Buddha (Fig 22) Nepa-
lese miniature in the collection of
Dr. W. Y. Evans-Went::, 60, described
52
Aksobhya Dhyani Buddha (Fig 2 3) Nepa-^
lese sculpture from a roadside stupa at
Katbmandu, 61, described 52
Amitabha Dhyani Buddha (Fig 19), Nepa-
lese miniature in the collection of Dr.
W. Y. Evans- Wentz 60, described 50
Amitabha LokesVara (Fig 87-A), eye copy
of painting in the Machhandar Vahal,
Kathmandu 422, described 429
Amitaprabha (Fig 61), Nepalese drawing
105, described 91
Amoghasiddhi Dhyani Buddha (Fig 33),
Nepalese miniature in the collection of
Dr. W. Y. Evans-Wen'z 64, described
5o
Amoghasiddhi Dhyani Buddha (Fig 34)
Nepalese sculpture from a roadside
stupa at Kathmandu 64, described 56
Amoghadarsm (Fig 72) Nepalese drawing
109, described 98
Amoghapas'a Lokesvara (Fig 71 -A) eye
copy of painting in the Machhandar
Vahal, Kathmandu, 4 IK, described 428
Amrtaprabha Lokesvara ^Fig 41-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 41 1, described 398
Anandadi LokesVara (Fig 7-A) eye copy of
painting in the Machhandar Vahal,
Kathmandu, 402, desciibed 395
Aparajita (Fig 18C)>, lower half oi' a muti-
lated sculpture discovered at Nalanda
291, described 240
Aparajita (Fig 190) lull image in stone in
the Indian Museum 292, described 246
Arapacana (Fig 92) Baroda Museum metal
statuette, 172, described 121
Arapacana (Fig fc>9), full -page illustration
of a sculpture in the Dacca Museum
171, described 120
Arapacana (Fig 90), Javanese sculpture now
in the Berlin Museum 172, described
121
Arapacana (Fig 91), Nepalese metal statue-
tte 172, described 121
Arya-Sarasvati (Fig 234), Nepalese drawing
of the goddess 370, described 351
Astabhuja Marie- i (Fig 152) artistic piece
in the Indian Museum in a full-page
'illustration 275, described 212
' Astabhuja MaricI (Fig 153), Indian Muse*
urn sculpture 276, described 212
Astabhuja Mfcrlcl (Fig 154», Lucknow
Museum sculpture 276, described 212
468
BUDDHIST ICONOGRAPHY
Avalokita LokesVara (Fig 44- A), eye copy
of painting in the Machhandar Vahal,
Kathmandu 411, described 399
Avalokitesvara (Fig 57), Nepalese drawing,
72, described 89
of the deity in Yab-yum, 266, described
160
Buddhist Triad (Figs 9, 10, 11) see Triad,
Buddhist
B
Baudh (Fig 7) a famous stupa in Nepal,
37, described 32
Bhadrapala (Fig 69), Nepalese drawing 108,
described 97
Bhrkutl (Fig 123), statuette in metal in
the Palace Temple at Peipmg 265, des-
cribed 153
Bodhi Tree (Fig 2), Lord Buddha's symbol
from the gateway at Sanehi, 33, des*
cribed 31
Brahma (Fig 239) metal statuette of the
deity riding the swan vehicle in the
Palace Temple at Peiping 372, described
363
Brahmadanda Lokesvara (Fig 27-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 407, described 397
Buddha (Fig 10) Nepalese metal statuette
showing Lord Buddha in the Bhusparsa
mudra in the collection of Pandit
Siddhiharfaha Vajracaryya, 40, des-
cribed 32
Buddha in different mudras (Fig 17) panel
showing four figures of Lord Buddha
in four different mudras in the Nalanda
Museum 59, described 48
Buddha in different mudras (Fig 18) run-
ning panel showing Lord Buddha in
different mudras, from Java 59, des-
cribed 48
Buddha's Footprints (Fig 4) on a Bharhut
bas-relief preserved in the Indian
Museum 36, described 31
Buddha's Head-dress (Fig 3) or hairlock(?)
as it appears on Bharhut bas-relief pre-
served in the Indian Museum 36, des-
cribed 31
Buddhakapala (Fig 127) Baroda Museum
metal statuette without the Sakti 266,
described 160
Buddhakapala (Fig 126) Nepalese drawing
Candarosana (Fig 124) Nepalese drawing
depicting the deity in Yab-yum 265, des-
cribed 155
Candraprabha (Fig 59; Nepalese drawing
105, described 90
Candraprabha Lokesvara (Fig 43-A) eye
cop37 of painting in the Machhandar
Vahal, Kathmandu 411, described 398
Cintamani Lokc&vara (Fig 94-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 424, described 430
Cittadhatu Lokesvara (Fig 93-A) eye copy
ol painting in the Maohhandar Vahal,
Kathmandu, 424, described 430
Cunda (Fig 163) Baroda Museum statuette
of the sixteen-armed deity, 280, des-
cribed 223f
Cunda (Fig 164) sculpture of the deity in
the Hindu monastery at Bodh Gaya
280, described 224
Cunda (Fig 162) miniature painting of the
sixteen armed variety in MS No. Add
1643 (Prajnaparamita) in the University
Library, Cambridge 280, described 223
Cunda (Fig 161) fine statuette of the four
armed variety in the collection of the
late Mr. W. B. Whitney of New York
297, described Z21
^Dakinl (Fig 217) metal statuette in the
Palace Temple at Peiping 357, described
322
Dasabhujasita Marlci (Fig 155) Nepalese
drawirg of the ten-armed goddess 278,
described 213
DalamlTithi (Fig 245) metal statuette in
the Palace Temple at Peiping 374, des-
cribed 382
Devadevata Lokesvara (Fig 72-A) eye copy
of painting in the Machhandar Vahal,
INDEX OF ILLUSTRATIONS
469
Kathmandu 418, described 428
Dhanada Tara (Fig 172) Ncpalese drawing
of the four'armed deity 284, described
231
Dharmacakra Lokesvara (Fig 81 -A) e^e
copy of painting in the Machhnndar
Vahal, Kathmandu 421, described 429
Dharmadhatu Lokesvara (Fig 90-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 423, described 430
Dharmamegha (Fig 223) metal statuette of
the Bhumi goddess in the Palace Tem-
ple at Peipini* 358, described 33t>
Dhvajagrakeyura (Fig 147) Nepaleso diaw-
ing of the four-armed goddess 274, des-
cribed 202
Dhyana Paramita (Fig 219) metal statuette
in the Palace Temple at Peiping 357,
described 326
Dipa (Fig 213) metal statuetie in the Palace
Temple at Peiping 355, described 318
Dombi (Fig 205) metal statuette in the
Palace Temple at Peiping 353, described
312
Dream, Maya's, see Maya's Dream
Ekajata (Fig 138) stone figure as companion
of Khadiravanl Tara in the Indian
Museum 270, described 194
Ekajata (Fig 139) Nepalese drawing 270,
described 194
Footprints, Buddha's see Buddha's Foot-
prints
Four-armed Ganapati, see Ganapati
Gaganaganja (Fig 53) Nepalese drawing 71,
described 87
Gaganaganja Lokesvara (Fig 48-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 412, described 399
Ganapati (Fig 228) twelve-armed metal
figure in the collection of the Dowager
Maharani Chimanbai Gaekwad of Baro-
da 360, described 348
Ganapati, four-armed (Fig 227) metal
image of the god in a dancing attitude
in the collection of Dr. Mophe of Khar
(Bombay), 360, described 348
Ganapati (Fig 241) metal statuette showing
the deity with the Rat vehicle in the
Palace Temple at Peiping 372, described
365
Ganapatttirdaya (Fig 229) Nepalese minia-
ture in the collection of Dr. W. Y.
Evans-Wentz 360, described 349
GanJhahasti (Fig 67) Nepjlese drawing 107
described Q6
Ghasmari (Fig 203) metal statuette in the
Palace Temple ut Peiping 296, described
311
Gita (Fig 207) metal statuette in the Palace
Temple at Peiping 353, described 313
Grahamatrka (Fig 165) Nepalese miniature
in the collection of Dr. W. Y Evans-
Went:: 282, described 225
H
Halahala (Fig 109) full-size stone image in
a monastery at Kathmandu 260, describ-
ed 132
Halahala Lokesvara (Fig 3- A) eye copy of
painting in the Machhandar Vahal,
Kathmandu 401
Harihara Lokesvara (Fig 84- A) eye copy of
painting in the Machhandar Vahal,
Kathmandu 421, described 429
Harihariharivahana (Fig 113) Nepalese
drawing of the deity riding on Visnu,
Garuda and Lion 261, described 137
Harihariharivahana Lokesvara (Fig 4-A)
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 401, described
394
Harivahana LokesVara (Fig 82-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 421, described 429
Hayagrlva (Fig 128) Nepalese di awing
showing the horse-neck on the head,
266, described 165
Hayagrlva (Fig 129) metal statuette in the
Palace Temple at Peiping 267, described
165
Hayagrlva LokesVara (Fig) 1-A eye copy of
painting in the Machhandar Vahal,
470
BUDDHIST ICONOGRAPHY
Kathmandu 401, described 394
Head-dress, Buddha's see Buddha's Head-
dress
Heruka (Fig 125) Dacca Museum sculpture
265, described 156
1
Indra (Fig 236) metal statue in the Palace
Temple at Peiping 371, described 352
J
Jalinlprabha (Fig 60), Nepalese drawing
105, described 90
Jalinlprabha LokesVara (Fig 42- A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 411, described 398
Jambhala (Fjg 176) fine Nepal statuette
in stono in the possession of Pandit
Siddhiharsha Vajracaryya 286, described
238
Jam bhal i (Fig 177) full page reproduction
of an artistic specimen discovered at a
roadside shed near Rampal in Vikram-
pur 287, described 238
Jambhala (Fig ] 78) small statuette in .stone
discovered at a road-side &hed near
Rampal in Vikrampur 288, described
238
Jambhala (Fig 179) Nepalese drawing of the
yab-yum figure 288, described 239
Janguli (Fig 137) Nepalese drawing 269*
described 192
Jatamukuta LokesVara (Fig 12-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 403, described 395
Jnanadhatu Lokesvara (Fig 36- A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 409, described 398
Jnanaketu (Fig 68) Nepalese drawing 108,
described 96
K
Kalacakra (Fig 134) Nepalese drawing
showing this rare deity in yab-yum 268,
described 188
Kamalacandra LokesVara (Fig 77- A) eye
copy of 'painting in the Machhandar
Vahal, Kathmandu 420, described 429
Kamandalu Lokesvara (Fig 10- A) eye copy
of painting in the Machhandar Vahal >
Kathmandu 403, described 395
Kapata (Fig 212) metal statuette in the
Palace Temple at Peiping 355, described
317
Karandavyuha LokesVara (Fig 37-A) eye
copy of painting in the Machhandar
Vahal 4 10, described 398
Kathe Simbhu (Fig 1) medium sized stupa
in Kathmandu, 37, described 32
Ketu (Fig 243) metal statuette of the planet
in the Palace Temple at Peiping 373,
described 378
Khadiravani Tar a (Fig 166) beautiful
bronze in the Baroda Museum without
companions 282, described 227
Khadiravani Tara (Fig 249) unique sculp-
ture showing the eight deities of the
Tara mantra in the Dacca Museum, 375
described 388
Khadiravani Tara (Fig 167) Indian Museum
sculpture with Asokakanta and Ekajata
282, ciesciibed 227
Khadiravani Tara (Fig 166) artistic speci-
men discovered at Mahoba and LOW
deposited in the Provincial Museum
at Lucknow 281, described 227
Khasaipana (Fig 103) discovered in the
Pargana Vikrampur, Dacca in a full
page reproduction 257, described 130
Khasarpana (Fig 104) Indian Museum
sculpture 259, described 130
Khasarpana Lokesvara (Fig 21-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 406, desciibed 396
Krtanjali Lokesvara (Fig 98- A) eye copy of
painting in the Machhandar Vahal,
Kathmandu 425, described 430
Ksitigarbha (Fig 51) Nepalese drawing of
the Bodhisattva 70, described 85
Ksitigarbha LokesVara (Fig 50-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu, 413, described 399
Kumbha (Fig 247) metal statuette of the
Sign of the Zodiac in the Palace Temple
. at Peiping 374, described 383
Kurukulla (Fig 121) Nepalese drawing of
the deity showing the bow and arrow of
INDEX OF ILLUSTRATIONS
471
flowers 264, described 149
Kurukulla (Fig 122) metal statuette in the
Palace Temple at Peiping 264, described
149
Lama (Fig 218) Nepalese painting of the
goddess in a full page illustration 376,
described 322
Lasya (Fig 205) metal statuette in the
Palace Temple at Peiping 353, described
313
Locana Buddhas*akti (Fig 31) Nepalese
miniature 63, described 55
Lokanatha (Fig 106) Baroda Museum me-
tal statuette 259, described 132
Lokanatha (Fig 105) Mahoba sculpture
now in the Lucknow Museum 258, des-
cribed 132
Lokanatha (Fig 108) ivory imago in a pri-
vate collection in Kathmandu (Nepal)
260, described 132
Lokanatha (Fig 107) Torso in the Sarnath
Museum 259, described 107
Lokanatha Raktaryyavalokitesvara (Fig
18-A) eye copy of painting in the Ma-
chhandar Vahal, Kathmandu 405, des-
cribed 396
M
Maha-Abhayakari LokesVara (Fig 64-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 416, described 400
Maha-Abhayaphalada LokesVara (Fig 63-A)
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 416, described
400
Mahacandrabimba LokesVara (Fig 61 *A)
eye copy of painting in the Machhandar
Vahal, Kathmandu 416, described 400
Mahaclna Tara (Fig 135) Nepalese drawing
of the goddess 269, described 191
Mahaclna Tara (Fig 136) Nepalese drawing
of the goddess 269, described 191
Mahakala (Fig 226) exceedingly fine
specimen of the two-armed form of
the violent god in stone in the collec-
tion of Pandit Siddhiharsha Vajracaryya
of Nepal 359, described 345
Mahamanjubhuta LokesVara (Fig 65-A
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 417, described
428
Mahamanjudatta LokesVara (Fig 60-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 415, described 400
MahamantranusarinI (Fig 198) Nepalese
miniature in the colleuion of Dr. W.
Y. Evans- Wentz 294, described 305
Mahamayuri (Fig 200) Nepalese miniature
in the collection of Dr. W Y. Evans-
Wentz295 described 305
Mahapatala Lokf'Svara (Fig 59-A) eyo copy
of painting in the Machhandar Vahal,
Kathmandu 415, described 400
Mahapratisara (Fig 185) Dacca Museum
''mage of the eight-armed deity 290,
described 244
Mahapratisara (Fig 184) sculpture of the
deity in the Dacca Sahitya Parisat 290,
described 244
Mahapratisara (Fig 196) Nepalese minia-
ture in the collection of Dr. W. Y.
Evans-Went: 294, described 303
Maharatnakirti Lokesvara (Fig 55-A) eye
copy of painting in the Macnhandar
Vahal, Kathmandu 414, described 399
Maharatnakula Lokesvara (Fig 58-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 415, described 400
Mahasahasrabhuja LokesVara (Fig 5 4- A)
eye copy of painting in the Machhan*
dar Vahal, Kathmandu 414> described
399
Mahasahasrapramardani (Fig 197) Nepalese
miniature in the collection of Dr. W.
Y. Evans Went* 294, described 304
Mahasahasrasuryya Lokesvata (Fig 5 7- A)
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 415, described
400
MahalankhanStha LokesVara (Fig 56-A)
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 414, described
400
MahSsarasvati (Fig 230) Nepalese drawing
of the goddess 369, described 350
Mahafitavati (Fig 199) Nepalese miniature
472
BUDDHIST ICONOGRAPHY
to the collection of Dr. W. Y, Evans
Wentz 295, described 305
MahSsri Tara (Fig 169) full-page reproduc-
tion of an artistic sculpture in the
Indian Museum with the Dhyani
Buddha s and the four companions 283,
described 229
Mahasthamaprapta (Fig 58) Nepalese draw*
ing of the Bodhisattva 72, described
89
Mahasthamaprapta Lokesvara (Fig 106-A)
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 427, described
431
Mahasuryyabimba LokesVara (Fig 62-A)
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 416, described
400
Mahattarl Tara (Fig 201) beautiful Nepa-
lese statuette in the collection of Pan*
dit fchddhiharsha Vajracaryya of Nepal
295, described 307
Mahavajradhatu Lokesvara (Fig 67-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 417, described 428
Mahavftjradhrk LokesVara (Fig 68-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 417, described 428
Mahavajranatha Lokesvara (Fig 70-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 418, described 428
Mahavajrapani Lokesvara (Fig 69-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 418, described 428
Mah&vajrasattva LokesVara (Fig 29-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 408, described 397
Mahavisvasuddha LokesVara (Fig 66 A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 417, described 428
Mahesvara (Fig 240) metal statuette with
the Bull vehicle in the Palace Temple at
Peipmg 372, described 364
Maitreya (Fig 65) Nepalese drawing 107,
described 94
Maitreya (Fig 47) Nepalese drawing 69,
described 81
Mamaki Buddh&s'akti (Fig 24) Nepalese
drawing 61, described 52
Manipadma Lokelvara (Fig 22-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 406, described 396
Manjukumara (Fig 88) Nepalese drawing
170, described 120
Manjunatha Lokesvara (Fig 96-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 424, described 430
ManjusrI (Fig 66) Nepalese drawing 107,
described 95
ManjusrI (Fig 74) Baroda Museum metal
statuette with Ganapati and Visnu 110,
described 102
Manjuvara (Fig 83) Birbhum sculpture 169*
described 117
Manjuvara (Fig 84) Indian Museum sculp-
ture 169, described 118
Manjuvara (Fig 85) second Indian Museum
sculpture 169, described 118
Manjuvara (Fig 86) Nepalese metal statuette
in the collection of Pandit Siddhiharsha
170, described 118
Manjuvara (Fig 86) Nepalese metal sta-
tuette in the collection of Pandit Si-
ddhiharsha 170, described 118
Manjuvajra (Fig 87) Baroda Museum metal
statuette 170, described 119
Maya's Dream (Fig 1) bas-relief on the
Bharhut railings in the Indian Museum
depicting the Buddha as White Ele-
phant entering into the womb of
Mayadevi 83, described 31
Mayajalakrama Lokesvara (Fig 5A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 402, described 394
Mayajalakramakrodha Lokesvara (Fig
15-A) eye copy of painting in the
Machhandar Vahal, Kathmandu 404 >
described 395
Mina (Fig 248) metal statuette of the
Sign of the Zodiac in the Palace Tem-
ple afc Peiping^W, described 383
Mojaghanjabala (?) Lokesvara (Fig 2-A)
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 401, described
394
Mortal Buddhas, seven (Fig 45) with
Maitreya in an Indian Museum sculp*
ture 69, described 77
Mudras, Buddha in different see Buddha
in different Mudras
INDEX OF ILLUSTRATIONS
473
Mukunda (Fig 210) metal statuette in the
Palace Temple at Peiping 354, described
315
N
Nairatma (Fig 1 48) Indian Museum sculp-
ture, slightly mutilated 273, described
204
Nairatma (Fig 149) metal statuette with the
lost Khatvanga in the Vnngiya Sahitya
Parisat Museum 214, described 204
Namasangiti (Fig 151) metal statuette of
Nepal in the collection of Pandit Siddhi-
harsha 151, described 207
Namasangiti Manjusri (Fig 79) Nepalese
drawing 111, described 116
Namasangiti Manjusri (Fig. 80) metal sta-
tuette in the Palace Temple at Peiping
112, described 116
Navami Tithi (Fig 244) metal statuette of
the Time deity in the Palace Temple at
Peiping 373, described 382
Nilakantha (Fig. 116) Sarnatha Museum
sculpture 262, described 141
Nilakantha LokesVara (Fig. 17' A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 405, described 3%
Nirukti Pratisamvit (Fig. 224) metal statu-
ette in the Palace Temple at Peiping
359, described 343
Nityanatha LokesVara (Fig 103-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 426, described 431
Nrtya (Fig- 208) metal statuette from the
Palace Temple at Peiping 354. described
314
Padmanarttasvara (Fig 112) Nepalese
drawing in the company of the Sakti
261, described 135
Padmanarttesvara (Fig. 1 10) artistic sculp-
ture at Saiasvatisthan near Simbhu in
Nepal 260, described 133
Padmanarttesvara (Fig 111) metal statuette
in the Palace Temple at Peiping 261,
described 134
Padmapani Bodhisattva (Fig. 21) full size
bronze figure in a monastery at Kath-
mandu 60, described 51
Padmapani Lokesvara (Fig. 104-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 426, described 431
Pandara Buddhasakti (Fig. 20) Nepalese
miniature 60, described 50
Paramasva (Fig. 132) Nepalese drawing
showing the horse-head 268, described
186
Parnasabari (Fig 140) sculpture in the In*
dian Museum 270, described 197
Parnasabari (Fig. 173) full page reproduc-
tion of an artistic specimen at Vajra-
yogini in Vikrampur 285, described
233
Parnasabari (Fig 174) fine sculpture dis-
covered in Vikrampur bv Dr. N K.
Bhattasali 286, described 233
Pindapatra Lokesvara (Fig 73-A) eye copy
of painting in the Machhandar Vahal,.
Kathmandu 419, described 428
Potapada (?) Lokesvara (Fig 9-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 403, described 395
Prajnaparamita (Fig 141) the most artistic
sculpture from Java now in the Leiden
Museum 271, described 198
Frajnaparamita (Fig 142) Indian Museum
sculpture 271, described 199
Pranidhana Paramita (Fig 220) metal statue-
tte in the Palace Temple at Peiping 357,
described 327
Prasannatara (Fig 192) Nepalese drawing
of the eight-headed and sixteen-armed
deity 292, described 250
Pratibhanakuta (Fig 62) Nepalese drawing
of the Bodhhisatt va 106, described 92
Pratibhanakuta LokesVara (Fig 40- A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 410, described 396
Pratibhaua Pratisamvit (Fig 225) metal
statuette in the Palace Temple at Peiping
359, described 343
Pratyangira see Mahapratyangira
Pratyangira (Fig 144) Nepalese drawing 272,
described 201
Pratyangira (Pig 145) Nepalese drawing
60
474
BUDDHIST ICONOGRAPHY
272, described 201
Pratyangira (Fig 146) Nepalese image with
innumerable heads & arms in a private
collection in Nepal 272, described 201
Pretasantarpana Lokesvara (Fig 14-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 404 described 395
Pretasantarpita (Fig 118) Nepalese drawing
of the deity showing two goblins 263,
described 142
Pukkas! (Fig 204) metal statuette in the
Palace Temple at Peiping 296, described
311
Pupala (?) LokesVara (Fig 24- A) eye copy of
painting in the Machhandar Vahal,
Kathmandu 406, described 396
Puspatara (Fig 183) metal statuette in the
Palace Temple at Peiping 289, described
243
R
Rahu (Fig 242) metal statuette of the
planet showing the Buffalo chariot, in
the Palace Temple at Peiping 373, des-
cribed 377
Rakta-LokesVara (Fig 115) metal statuette
in the Palace Temple at Peiping 262,
described 138
Ratnadala LokesVara (Fig 75- A) eye copy
of painting in the Machhandar Vahal
419, described 429
Ratnapani Bodhisattva (Fig 40) full size
Nepalese bronze in a monastery at
Kathmandu 66, described 74
Rddhi Vas*ita (Fig 222) metal statuette in
the Palace Temple at Peiping 358, des-
cribed 330
Ratnapani (Fig 54) Nepalese drawing 71,
described 87
Ratnapani LokesVara (Fig 4 7- A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 412, described 399
Ratnasambhava DhySni Buddha (Fig 37)
Nepalese miniature in the collection
of Dr. W. Y. Evans- Wentz 65, des-
cribed 74
Ratnasambhaba Dhyani Buddha (Fig 3 8)
Nepalese sculpture from a road-side
stupa at Kathmandu 65, described 74
Ratnolka (Fig 2 14) metal statuette in the
the Palace Temple at Peiping 356, des-
cribed 31 8
Sadaksari group (Fig 96) Birbhum sculp-
ture 174, described 126
Sadaksari group (Fig 95) Indian Museum
sculpture 173, described 126
Sadaksari group (Fig 94) Sarnath Museum
sculpture showing Manidhara and
Sadaksari Mahavidya in full form 173,
described 126
Sadaksaii Lokesvara (Fig 97) Baroda Mu-
seum metal statuette 174, described
126
Sadaksari Lokesvara (Fig 6-A) eye copy of
painting in the Machhandar Vahal,
Kathmandu 402, described 395
Sadaksari Mahavidya (Fig 98) Sarnath Mu-
seum sculpture 174, described 127
Sadbhuja Sitatara (Fig 1711 Nepalese draw-
ing 284, described 230
Sagaramati (Fig 55) Nepalese drawing 71,
described 88
Sagaramati Lokesvara (Fig 46-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 412, described 399
Sakyabuddha Lokesvara (Fig 33 -A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 408, described 397
Sakyabuddha LokesVara (Fig 92-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 423, described 430
Samantabhadra (Fig 48) Nepalese drawing
69, described 84
Samantabhadra Bodhisattva (Fig 32) a full
size Nepalese bronze in a monastery at
Kathmandu 63, described 55
Samantabhadra LokesVara (Fig 53- A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 414, described 399
Sangha (Fig 11) Nepalese metal statuette
of the four-armed deity in the collec-
tion of Pandit Siddhiharsha 40, des-
cribed 40
£ankhanatha LokesVara (Fig 101-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 426, described 430
INDEX OF ILLUSTRATIONS
475
Santamati Lokesvara (Fig 95-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 424, described 430
Santasi Lokelvara (Fig 32-A) eye copy of
painting in the Machhandar Vahal,
Kathmandu 408, described 397
Sarasiri (?) Lokesvara (Fig 83-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 421, described 429
Sarthavaha Lokesvara (Fig 74-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 419, described 428
Sarvanivaranaviskambhi (Fig 64) Nepalese
drawing of the Bodhisattva 106, des-
cribed 93
Sarvanivaranaviskambhi Lokesvara (Fig
3 8- A) eye copy of painting in the
Machhandar Vahal, Kathmandu 410,
described 398
Sarvapayairjaha (Fig 70) Nepalese drawing
of the Bodhisattva 108, described 97
Sarvapayanjaha (Fig 71) metal statuette
in tho Palace Temple at Peiping 109,
described 97
Sarvasokatamoiarghatamati (Fig 63) Nepa*
lese drawing oi the Bodliisattva 106,
described 92
Sarvasokatamonirghatamati Lokesvara (Fig
39-A) eye copy of painting in the Ma-
chhanddr Vahal, Kathmandu 410, des-
cribed 398
Seven Mortal Buddhas with Maitreya see
Mortal Buddhas, Seven
Siddhaikavira (Fig 77) Sarnath Museum
statue 111, described 114
Simbhu (Fig 6) the m^st famous Stupa
in Nepal 37, described 32
Simhanada (Fig 9°) full page illustration of
the Mahoba image now in the Lucknow
Museum 175, described 127
Simhanada (Fig 101; sculpture from Ma-
gadha 176, described 128
Simhanada (Fig 100) Nepalese metal sta-
tuette with a large size lion 176, des-
cribed 128
Simhanada (Fig 102) Nepalese metal sta-
tuette 176, described 128
Simhanada LokesVara (Fig 85-A) eye copy
of painting in the Machhandar Vahal*
Kathmandu 422, described 429
Simhanatha Lokesvara (Fig 20A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 405, described 396
Simhasya (Fig 215) unique metal statuette
in the collection of Dr. Moghe of Khar
Bombay 356, described 321
Simhasya (Fig 216) upper view of the
image showing the lion head in the
collection of Dr. Moghe ot" Khar
(Bombay) 356, described 321
Sirisara (?) Lokesvara (Fig 80-A) eye
copy of painting in the Machhandar
Vahai, Kathmandu 420, described 429
Sitatapatra Aparajita (Fig 158) Nepalese
drawing of the six armed deity 278,
described 216
Srimad-Aryavalokitesvara (Fig 108-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 427, described 431
Srstikanta Lokesvara (Fi$ 52 A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 413, described 399
Sthiracakra (Fig 93) sculpture in the Van-
giya Sahitya Parisat Calcutta 173, des-
cribed 122
Stupas (Figs 6, 7, 8)— three famous stupas
of Nepal illustrated 37, described 32
Stupa of Bauddh (Fig 7) in Nepal illustra-
ted 37, described 32
Stupa of Kathc Simbhu (Hg 8) in Nepal
illustrated 37, described 32
Stupa of Simbhu (I ig 6) in Nepal illustra-
ted 37, described 32
Sugatisandars'ana (Fig. 117) Nepalese draw-
ing 262, described 141
Sugatbandars'ana Lokesvara (Fig 16-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 404, described 396
fcukhavati LokesVara (Fig 1 19) one of the
many sculptures of the deity found in
in Nepal 262, described 142
SukhavatI Lokesvara (Fig 1 3- A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 404, described 395
Surangama (Fig 73) Nepalese drawing of
the Bodhisattva 109, described 98
Symbol Worship (Figs. 3, 4, 5)— Three
bas-reliefs from Bharhut Railings
476
BUDDHIST ICONOGRAPHY
preserved in the Indian Museum, Cal-
cutta 36, described 31
Talika (Fig 211) metal statuette in the
Palace Temple at Peiping 355, described
316
TSra Buddhasakti (Fig 35), Nepalese minia-
ture 64, described 73
Trailokyavas'ankara (Fig 1 14) a statuette in
the Palace Temple at Peiping 262, des-
cribed 137
Triad, Buddhist (Figs 9, 10, 11) three metal
statuettes in the collection of Pandit
Siddhiharsha 40, described 32
Trilokasandarsana Lokesvara (Fig 19-A)
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 405, described
396
Tula (Fig 246) metal statuette of the Sign
of the Zodiac in tha Palace Temple at
Peiping 374, described 383
U
Ucchusma Jambhala (Fig 130) unique
sculpture showing Ucchusma standing
on Kubera and in the company of
Vasudhara, in the Sarnath Museum 267,
described 180
Upapati Vasita (Fig 221) metal statuette in
the Palace Temple at Peiping 358, des-
cribed 330
Usnisavijaya (Fig 156) full page illustra-
tion of an artistic specimen in the
Indian Museum 277, described 215
Usnisavijaya (Fig 157) Nepalese miniature
in the collection of Dr. W. Y. Evans-
Wents 278, described 215
Utnauti (?) LokesVara (Fig 25-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 407, described 397
VaglsVara (Fig 81) an Indian Museum
sculpture 112, described 117
Vagilvara (Fig 82) Nepalese bronze from a
private collection 112, described 117
Vairocana Dhyani Buddha (Fig 28) Nepa-
lese miniature in the collection of Dr.
W. Y. Evans-Wentz 62, described 54
Vairocana Dhyani Buddha (Fig 29) Nepa-
lese bronze in the private collection in
Kathmandu 62, described 54
Vairocana-Vajradhara (Fig 30) metal sta-
tuette in the Palace Temple at Peiping
63, described 54
Vajracarcika (Pig 143) Nepalese drawing
showing her emaciated form 271, des-
cribed 200
Vajradhara-Adibuddha see Adibudda Vajra-
dhara
Vajradhara (Fig 13) Baroda Museum sta-
tuette showing his single form 58, des-
cribed 44
Vajradhara Yab-yum (Fig 14) 58, front
view of a Nepalese metal statuette in
the collection of Pandit Siddhiharsha
58, described 43
Vajradhara Yab-yum (Fig 15) side view of
a Nepalese metal statuette in the collec-
tion of Pandit Siddhiharsha 58, des-
cribed 43
Vajradhara (Fig 16) six-armed statuette of
the deity *in the Baroda Museum 58,
described 43
Vajradharma (Fig 120) Nepalese drawing
of the deity showing the Peacock vehicle
264, described 143
Vajradharma Lokesvara (Fig 23 -A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 406, described 396
Vajradhatu- Vairocana (Fig 30) metal sta-
tuette in the Palace Temple at Peiping
63, described 54
Vajradhatu Lokesvara (Fig 91 -A) eye
copy of painting in the Palace Temple
at Peiping 423, described 430
VajradhatvisVar! Buddhasakti (Fig 39)
Nepalese miniature 66, described 74
Vajragaibha (Fig 56) Nepalese drawing of
the Bodhisattva 72, described 88
Vajragarbha Lokesvara (Fig 45-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 412, described 399
Vajrahuntika (?) LokesVara (Fig 35-A)
INDEX OF ILLUSTRATIONS
477
eye copy of painting in the Machhan-
dar Vahal, Kathmandu 409, described
398
Vajrakhanda Lokelvara (Fig 78-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 420, described 429
Vajrananga (Fig 78) Nepalese drawing 111,
described 115
Vajranatha Lokesvara (Fig 107-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 427, described 431
Vajrapani Bodhisattva (Fig 26), Indian Mu-
seum sculpture of the Bodhisattva 62,
described 53
Vajrapani Bodhisattva (Fig 27) sculpture
in the Nalanda Museum 62, described
53
Vajrapani Bodhisattva (Fig 25) full size
Nepalese bronze in a monastery at
Kath-nandu 61, described 53
Vajrapani Lokesvara (Fig 105-A) eye
copy of painting in the Machhandar
Vahal Kathmandu 427, described 431
Vajrapasi (Fig 193) metal statuette in the
Palace Temple at Peipmg 293, described
297
Vajraraga (Fig 75) Baroda Museum metal
stauette 110, described 103
Vajraraga (Fig 76) Nepalese drawing 110,
described 103
Vajrasana (Fig 46) Indian Museum sculp-
ture showing the two companions
LokesVara and Maitreya illustrated 68,
described 78
Vajrasarada (Fig 232) Nepalese drawing
369, described 351
Vajrasarada (Fig 233) sculpture showing
the central deity wfrh her four com-
panions in the Sarnath Museum 370,
described 351
VajrasarasvatI (Fig 235) Nepalese drawing
of the goddess 370, described 353
Vajrasattva (Fig 41) Nepalese sculpture in
a monastery at Kathmandu 66, described
75
Vajrasattva (Fig 42) Baroda Museum bron*
ze illustrated 67, described 75
Vajrasattva Yab-yum (Fig 43) Nepalese
bronze in the collection of Pandic
Siddhiharsha 67, described 75
Vajrasattva Yab-yum (Fig 44) side view of
the Nepalese bronze in the collection
of Pandit Siddhiharsha 67, described
75
Vajrasattvadhatu LokesVara (Fig 88- A) eye
copy of painting in the Machhandar
Vahal, Kathmandu, 422. described 429
Vajrasphota (Fig 194) metal statuette in
the Palace Temple at Peiping 293, des-
cribed 298
Vajrasrnkhala (Fig 17*>) Nepalese drawing
of the six-armed deity 2N6, described
235
Vajrasrsta Lokesvara (Fig 100- A) eye copy
of painting in the Machhandnr Vahal,
Kathmandu 425
Vajratara (Fig 182) sculpture at Sarasvatis-
tan near Svayambhunath in Nepal 289,
described 243
Vajratara (Fig 18J) Orissa sculpture dis-
covered in the State of Mayurbhanj
289, described 243
Vajrataia (Fig 180) Indian Museum bronze
in the form of a lotus with eight petals
showing the principal deity in centre
with eight companions 288, described
243
Vajravarahi (Fig 160) beautiful bronze
statuette in the Baroda Museum 279,
described 2 19
Vajravarahi (Fig 159; Nepalese drawing
depicting the excrescence near the right
ear 279, described 219
Vajravidaranl (Fig 150) Nepalese miniature
in the collection of Dr. W. Y. Evans-
Wentz 274, described 205
Vajravina Sarasvat! (Fig 231) metal statuet-
te in the Palace Temple at Peiping 369,
described 350
Vajrayogini Temple at Sanku (Fig 191)
illustrated 292, described 248
Vajrosnlsa (Fig 195) metal statuette in the
Palace Temple at Peiping 293, described
300
Vajrosnisa LokesVara (Fig 34' A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 409, described 398
Varadayaka LokesVara (Fig 11 -A) eye copy
478
BUDDHIST ICONOGRAPHY
of painting in the Machhandar Vahal,
KatJbmandu 403, described 395
Vasudhara (Fig 186) Kepalese drawing
of the deity with two arms 290, des-
cribed 245
Vasudhara (Fig 187) fine sculpture of the
six armed form of the deity 291, des-
cribed 245
Vasudhara (Fig 188) metal statuette of the
six armed form of the deity in the
Baroda Museum 291, described 245
VasVfidhikara LokesVara (Fig 8-A) eye
copy of painting in the Madhhandar
Vahal, Kathmandu 402, described 395
VasVatara (Fig 170) Nepalese drawing 284,
described 230
Vayu (Fig 238) a metal statuette in the
Palace Temple at Peiping 371, des-
cribed 362
Vetall (Fig 202) matal statuette in the
Palace Temple at Peiping 296, described
31J
Vidyapati Lokesvara (Fig 102-A) eye copy
of painting in the Machhandar Vahal
Kathmandu 426, described 430
Vighnantaka (Fig 131) bron/e statuette in
the Baroda Museum 267, described
181
Vina (Fig 209) metal statuette in the
Palace Temple at Peiping 354, des-
cribed 315
Visnucakra Lokesvara (Fig 97-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 425, described 430
Visnukanta Lokf»svara (Fig 99-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 425, described
430
Visnupani Lokesvara (Fig 76-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 419, described 429
Visvabhuta Lokesvara (Fig 89-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 423, described 430
Visvahana Lokesvara (Fig 30-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 408, described 397
VisVapani Bodhisattva (Fig 36) full size
Nepalese bronze in a monastery at
Kathmandu 65, described 73
VisVavajra Lokesvara (Fig 86-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 422, described 429
Vrsnacana (?) Lokesvara (Fig 26- A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 407, described
397
W
Wheel-of-the-Law (Fig 5) symbol of
Lord Buddha appearing on a bas-relief
on the Bharhut railing in the Indian
Museum 36, described 31
Yamadanda Lokesvara (Fig 33-A) eye copy
of painting in the Machhandar Vahal,
Kathmandu 409, described 397
Yogambara (Fig 133) metal statuette in the
Palace Temple at Peiping depicting his
yab-yum form 268, described 186
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